-::::^?r:^ :y;?^^v;;;-:»^_;, ■;, 



m 



1 




Class. 
Book. 



/ '' ! ku 



'■^Jj^f- 



GopiyrightN^. 



COPYRIGHT DEPOSm 



STUDIES IN THE BI-LITERAL 
CIPHER OF SIR FRANCIS BACON 




BACON AS A YOUTH 



Studies in the 

BI -LITERAL CIPHER 

of FTU^CIS "BiACOS^ 



BY 



Gertrvde Horsford Fiske 



^ ■ i 



w 



ith 



ITALIC 6- TiOMA^jALTHABerS 



Elizabeth Wells Gallup 



Boston l/ondotv 

JoTjn W. Ivucc & Co. Artliur F. Bird 

MCMXIII 






COPYRIGHT, 1913, BY 
GERTRUDE H. FISKE 



ENTERED AT STATIONERS' HALL 
ALL RIGHTS RESERVED INCLUDING THE RIGHT 
OF TRANSLATION INTO FOREIGN LANGUAGES 

INCLUDING THE SCANDINAVIAN. 



THE FOUR SEAS PRESS 
SHARON, MASS. U. 3. A. 



/> ^ 

)CI.A358f)67 



PREFACE 



fO 



"*■ J^ T^ '^ twelve years since Elizabeth Wells Gallup printed her first translation from the bi- 

' I literal cipher of Francis Bacon. During these years she has published more translations, 

but has made little effort to describe the method of reading the cipher. 

When her book '"Francis Bacon's Cipher Story" was first brought to my attention, I 
spent much time in endeavoring to work out the cipher, but without success. Later, I was so 
fortunate as to meet Mrs. Gallup, and have had the privilege of receiving instruction from her 
in deciphering. Believing that what I have learned will be interesting to many, I have en- 
deavored to show in this book in as simple a manner as possible the laborious way in which 
the hidden message is brought to light. 

In order to make this book helpful to those who wish to decipher the bi-literal (cipher) I 
have also collected together examples from several books showing different italic alphabets. 
All these books contain cipher messages, and all were printed in different years, and in differing 
alphabets. These alphabets are grouped in fonts, and the letters drawn, and their differences 
clearly pointed out by Mrs. Gallup. These italic letters are the shapes and sizes used generally 
in the books of the sixteenth and seventeenth centuries to conceal the cipher messages. Be- 
sides these there are several sizes of Roman letters in facsimile which are also described. 

Acknowledgements are due to Mrs. Gallup, to Edward J. O'Brien for his assistance in 
publishing this book, and to Mr. Moore of the Howard Publishing Co. of Detroit, for his cour- 
tesy in allowing me to print translations never before published. The pen and ink draw- 
ings of Alphabets, the descriptions of the letters, and all of the decipherings in this book 
were made by Mrs. Gallup at my request. 

Gertrude H. Fiske. 



TABLE OF CONTENTS 



I. Introduction 

II. De Augmentis Scientiarum, 1638. Cipher KEY TO MESSAGE ON Page 170 

III. A Lesson on the Key in De Augmentis Scientiarum, 1632 and 1638 

IV. An Example of the Method of Translating the Cipher 

V. Second Folio, 1632. L. Digges Poem. Cipher key and deciphered message 

VI. The Method of Extracting the Cipher from the Dedicatory Epistle, 
Second F^olio, 1632 

VII. Second Folio, 1632. Dedicatory Epistle, etc. Cipher key and de- 
ciphered message 

VIII. Peele's The Knight of the Golden Shield, 15,99. Cipher key and de- 
ciphered MESSAGE 

IX. Sylva Sylvarum, 1627. Cipher key 

X. New Atlantis, 1627. Cipher key 

XI. Second Folio, 1632. Cipher keys: 

1 . Actors ' N.\mes 

2. First of Ben Jonson 's Poem 

3. Last of Ben Jonson 's Poem and First of I. M. S. Poem 



Last of I. M. S. Poem 

Hugh Holland Poem 

Poems: "Upon the Effigies," and "An Epitaph." 

I. M. Poem 

Prologue: Troilus and Cressida 



I 

7 

8 

12 

16 

17 

22 

25 

33 
36 

43 
43 
43 
44 
44 
45 
46 
46 



ERRATA 

On page 12, line 15 — for "48" read 51. 

On page 18, line 19 — for "57-68" read 60-71 ; line 20 — for "58" read 61. 

On page 23, in Deciphered Message, line i — for "Actors MS" read "Actors Wm. S". 



TABLE OF CONTENTS 

XII. A Description of the Alphabets. 

1. Second Folio, 163c. L. Digges Poem. 

I. Italic Capitals 47 

II. Italic Small Letters 51 

III. Italic Digraphs 55 

2. Second Folio, 1632. Dedicatory Epistle. 

I. Italic Capitals 60 

II. Italic Small Letters 63 

III. Italic Digraphs 68 

3. Second Folio, 1632. Two-Space Letters, Roman Type. 

I. Capitals 72 

II. Small Letters 75 

III. Digraphs 78 

4. Second Folio, 1632. Three-Space Letters, Roman Type, in the 

Headings of the Shakespeare Plays. 

I. Capitals 79 

II. Small Letters 82 

III. Digraphs 86 

5. Second Folio, 1632. Roman Type in L. Digges Poem, etc. 

I. Capitals 87 

II. Small Letters 90 

III. Digraphs 93 

6. Second Folio, 1632. Small Roman Type. 

I. Capitals 94 

II. Small Letters 97 

7. Second Folio, 1632. Small Italic Type. 

I. Capitals 100 

II. Small Letters 104 



TABLE OF CONTENTS 

8. Peele's The Knight of the Golden Shield, 1599. 

I. Italic Capitals in Large Type no 

IL Italic Small Letters in Large Type m 

« III. Italic Digraphs in Large Type u < 

IV. Italic Capitals in Small Type 114 

V. Italic Small Letters in Small Type 117 

VI. Italic Digraphs, etc., in Small Type 122 

9. Sylva Sylvarum, 1627. 

I. Italic Capitals in Large Script on Engraved Pages . . 126 

II. Italic Small Letters in Large Script on Engraved Pages 127 

III. Italic Capitals in Medium Script on Engraved Pages 129 

IV. Italic Small Letters IN Medium Script on Engraved Pages 130 

V. Italic Capitals in Small Script on Engraved Pages 131 

VI. Italic Small Letters in Small Script on Engraved Pages 132 

VII. Italic Capitals in Large Type 135 



VIII. Italic Small Letters in Large Type. 



138 



IX. Italic Digraphs in Large Type 142 

X. Italic Capitals in Medium Type 143 

XL Italic Small Letters in Medium Type 147 

XII. Italic Capitals in Small Type 150 

XIII. Italic Small Letters in Small Type 154 

10. New Atlantis, 1627. 

I. Italic Capitals in large Type i tq 

II. Italic Small Letters in Large Type 162 

III. Italic Digraphs in Large Type 167 

IV. Italic Capitals in Medium Type 170 

V. Italic Small Letters in Medium Type 174 

VI. Italic Digraphs in Medium Type 178 

XIII. Deciphered Messages. 

I. Second Folio, 1632. 

I. Actors' Names and First OF Ben Jonson's Poem 184 



TABLE OF CONTENTS 

II. Last OF Ben Jonson's Poem AND First OF I. M. S. Poem. .. . 184 

III. Last of I. M. S. Poem, and Hugh Holland Poem 184 

IV. Poems "Upon the Effigies" and "An Epitaph" 185 

V. I. M. Poem 185 

VI. Prologue, Troilus and Cressida 185 

2. Sylva Sylvarum, 1627. 

I. Prefatory Pages 185 

II. Body of the Work 185 

3. New Atlantis, 1627 186 

XIV. "To The Reader" and Catalogue, Second Folio, 1632 188 



LIST OF PLATES 

■Frontispiece: Bacon as a Youth. 

1. De Augmentis, 1658. Page 167. 

2. De Augmentis, 1658. Page 168. 

3. De Augmentis, 16^8. Page 169. 

4. De Augmentis, i6j8. Page 170. 

5. Horace, 1564. Title-page. Showing two fonts of italics. 

6. Horace, 1564. Page 158. 

7. L. DiGGEs Poem, Second Folio, 1632. 

8. L. DiGGEs Poem, Alphabet. Capitals. 

9. L. DiGGEs Poem, Alphabet. Small Letters. 

10. L. DiGGES Poem, Alphabet. Digraphs. 

11. Second Folio, 1632. Titlepage. Upper Part. 

12. Second Folio, 1632. Titlepage. Lower Part. 

13. Second Folio, 1632. Dedicatory Epistle. Upper part of first page. 

14. Second Folio, 1632. Dedicatory Epistle. Lower part of first page. 

15. Second Folio, 1632. Dedicatory Epistle, Upper part of second page. 

16. Second Folio, 1632. Dedicatory Epistle, Lower part of second page. 

17. Second Folio, 1632. To the Great Variety of Readers. 

Upper part of page. 

18. Second Folio, 1632. To the Great Variety of Readers. 

Lower part of page. 

19. Second Folio, 1632. Dedicatory Epistle. Alphabet. Capitals. 

20. Second Folio, 1632. Dedicatory Epistle. Alphabet. Small Letters. 

21. Second Folio, 1632. Dedicatory Epistle. Alphabet. Digraphs. 
21A. Second Folio, 1632. Illustrations of Digraphs, i to 8. 

21B. Second Folio, 1632. Illustrations of Digraphs. 9 to 15. 

22. Second Folio, 1632. To the Reader. 

23. Second Folio, 1632. To the Reader. Alphabet. Two-space letters. 

24. Second Folio, 1632. Heading. The Tempest. 



LIST OF PLATES 



24A. 

2S- 
26. 
27. 
28. 
29. 
30. 

31- 

32. 

33- 

34- 

35- 
36. 

37- 
38. 

39- 
40. 

41- 
42. 

43- 
44. 

45- 
46. 

47- 

48. 

49. 

SO. 

51- 
52. 
53- 
54- 
55- 
56. 



Second Folio, 1632. Heading. Troilus and Cressida. 

Second Folio, 1632. Heading. Merry Wives of Windsor. 

Second Folio, 1632. Heading. Comedy of Errors. 

Second Folio, 1632. Heading. Much Ado About Nothing. 

Second Folio, 1632. Heading. Love's Labours Lost. 

Second Folio, 1632. Heading. Midsummer Night's Dream. 

Second Folio, 1632. Heading. Merchant of Venice. 

Second Folio, 1632. Heading. As You Like It. 

Second Folio, 1632. Heading. Taming of the Shrew. 

Second Folio, 1632. Heading. All's Well That Ends Well. 

Second Folio, 1632. Heading. Twelfth Night. 

Second Folio, 1632. Heading. Winter's Tale. 

Second Folio, 1632. Heading. King John. 

Second Folio, 1632. Heading. Richard II. 

Second Folio, 1632. Heading, i Henry IV. 

Second Folio, 1632. Heading. 2 Henry IV. 

Second Folio, 1632. Heading, i Henry VI. 

Second Folio, 1632. He.'\ding. 2 Henry VI. 

Second Folio, 1632. Heading. 3 Henry VI. 

Second Folio, 1632. Heading. Richard HI. 

Second Folio, 1632. Heading. Coriolanus. 

Second Folio, 1632. Heading. Romeo and Juliet. 

Second Folio, 1632. Heading. Timon of Athens. 

Second Folio, 1632. Heading. Julius C^^sar. 

Second Folio, 1632. Heading. Hamlet. 

Second Folio, 1632. Heading. Cymbeline. 

Second Folio, 1632. Three-space Alphabet. Capitals. 

Second Folio, 1632. Three-space Alphabet. Small letters. 

Knight of the Golden Shield, 1599. Title-page. 

Knight of the Golden Shield, 1599. Prologue. 

Knight of the Golden Shield, 1599. Page i. 

Knight of the Golden Shield, 1599. Page 2. 

Knight of the Golden Shield, 1599. Page 3. 



LIST OF PLATES 



57. Knight of the Golden Shield, 1599. Page 4. 

58. Knight of the Golden Shield, 1599. Page 60. 

59. Knight of the Golden Shield, 1599. Page 61. 

60. Knight of the Golden Shield, 1599. Page 62. 

61. Knight of the Golden Shield, 1599. Alphabets. Large type. 

62. Knight of the Golden Shield, 1599. Alphabets. Small type. 

63. Knight of the Golden Shield, 1599. Alphabets. Small type. Digraphs. 

64. Sylva Sylvarum, 1627. Frontispiece. 

65. Sylva Sylvarum, 1627. Engraved Title-page. 

66. Sylva Sylvarum, 1627. Printed Title-page. 

67. Sylva Sylvarum, 1627. Epistle Dedicatory, first page. 

68. Sylva Sylvarum, 1627. Epistle Dedicatory, second page. 

69. Sylva Sylvarum, 1627. To the Reader, first page. 

70. Sylva Sylvarum, 1627. To the Reader, second page. 

71. Sylva Sylvarum, 1627. Natural History, page i. 

72. Sylva Sylvarum, 1627. Natural History, page 2. 

73. Sylva Sylvarum, 1627. Natural History, page 3. 

74. Sylva Sylvarum, 1627. Natural History, page 4. 
■75. Sylva Sylvarum, 1627. Script Alphabets. 

76. New Atlantis, 1627. Title-page. 

Tj. New Atlantis, 1627. Page i. 

-78. New Atlantis, 1627. Page 2. 

79. New Atlantis, 1627. Page id. 

80. New Atlantis, 1627. Page ii. 
■81. New Atlantis, 1627. Alphabets. 
-82. Second Folio, 1632. Actors' Names. 

'83. Second Folio, 1632. Catalogue. Upper part of page. 

-84. Second Folio, 1632. Catalogue. Lower part of page. 

85. Second Folio, 1632. Hugh Holland Poem. 

86. Second Folio, 1632. Effigies. 

87. Second Folio, 1632. Epitaph. 

88. Second Folio, 1632. L M. Poem. 

"89. Second Folio, 1632. Ben Jonson's Poem. 



LIST OF PLATES 



90. 
91. 
92. 

93- 
94. 

95- 
96. 

97- 
98. 

99- 
100. 

lOI. 

102. 
103. 
104. 



L M. S. Poem. 

Epilogue, 2 Henry IV. 

Prologue, Troilus and Cressida. 

Actors' Names, 2 Henry IV. 

Alphabets. Examples of Roman Type in Actors' Names, 

2 Henry IV. 

Henry V. Page 79. 

Henry V. Page 79. 

Love's Labours Lost. Page 144. 

Alphabets. Capital letters. 

Alphabets. Small Letters. 
SvLVA Sylvarum, 1627. Alphabets. Large Type. 
Sylva Sylvarum, 1627. Alphabets. Medium and Small Type. 
Second Folio, 1632. Alphabets. Small Italic and Roman Type. 
Second Folio, 1632. Alphabets. Roman Type of L. Digges Poem, etc. 
Second Folio, 1632. Alphabets. Examples of Roman Type in L. Digges Poem, etc. 



Second Folio, 1632 
Second Folio, 1632 
Second Folio, 1632 
Second Folio, 1632 
Second Folio, 1632 

Second Folio, 1632 

Second Folio, 1632 

Second Folio, 1632 

Second Folio, 1632 

Second Folio, 1632 



STUDIES IN THE BI-LITERAL 
CIPHER OF SIR FRANCIS BACON 



INTRODUCTION 



IN 1895, Mrs. Elizabeth Wells Gallup, while stud3'ing the writings of William Shake- 
speare and Francis Bacon, came to the conclusion that the chapter in Bacon's De Aug- 

tnentis Sctentiaruni, describing a method of inserting a hidden message in a printed 
book by means of two differing fonts of type, must have been put there for a purpose other 
than that which appears in the text. When we consider the facts, we are led to the same 
conclusion. Methods of sending messages by cipher have been often described, but they 
are generally for use in letters, though they may be used in printed books. Here we have a 
cipher which is intended to be used only when the text is set in type. This property of the 
bi-literal cipher is highly suggestive. 

Let us consider how a cipher of this character can be applied. What people could go 
to the expense of having a book printed to insert a cipher message in it .^ Who would care 
to send a cipher message in a printed book to posterity .'' It would seem as if Francis Bacon, 
who thought of this kind of cipher, must have had some idea of making use of it. 

In order to get more of an idea of this man and see what may have beeri his thoughts 
in this direction, we must review the events of his life. 

History states that he was the son of Sir Nicholas Bacon, born during the reign of 
Queen Elizabeth. He was trained in the law, and, when a young man, was sent to France 
where the life of a diplomat, with its secret negotiations and state messages to his home 
government, gave him training in the art of transmitting information in cipher. In these 
communications, written letters were used. Afterward, when he had information he wished 
to transmit to posterity, a cipher in a printed book which was "not for an age, but for all 
time," was the method he employed. This cipher would keep his message safe till some 
scholar might correlate the idea of the method of the cipher from the De Augmetitts with the 
books of that period, and thus learn the secret of his life. 

A man who stated that he took all knowledge for his province, who was the first to 
reduce the investigation of natural phenomena to a systematic experimental basis, and who 

I 



2 THE BI-LITERAL CIPHER 

thus laid the foundation of modern science, was one who could realize the lasting value of 
his writings, though social position forbade him to claim them all as his own. He wished 
nevertheless that some day he might be recognized as the author of the most wonderful 
writings the world has yet seen. 

Besides the concealed authorship of the plays of Shakespeare and other works, he had 
a further message for posterity. Bacon had learned one day by accident the secret of his 
birth, and that he was the eldest son of Queen Elizabeth and therefore the rightful heir to 
the throne of England, but he realized that a publication of this fact would cost him his 
head. As Lord High Chancellor, he held the highest office in the gift of his sovereign; but 
he wished it to be known after he had passed away that there was a still higher title which 
was rightfully his. This message for the future must be hidden to be published after his 
death, but it must be hidden deeply in order that the decipherer might not be influenced by 
the prejudices of the age, and yet not so deeply that it would be lost before it was delivered 
to the world. What better means could be devised than the bi-literal cipher f Books he 
knew would be cherished, and that the plays of William Shakespeare would live for ages. 

He made the cipher in the plays more difficult to read than his concrete example in 
his De Augmentis, in order that it should not be read too soon. We have waited almost 
three centuries for the message, and now it has been translated for everyone to read.* For 
a further knowledge of Francis Bacon's life, the reader is referred to standard books on 
the subject. 

Let us consider what was the method of the bi-literal cipher. From the name, one 
might rightly infer that two kinds of letters or type are used. If we examine a page in any 
book, we will find several kinds or fonts of type on the page, besides the kind in which most 
of the book is printed. There will be large ones for the headings, and full-faced letters, 
and italics, wherever they may be needed to assist the meaning or emphasize a special sent- 
ence. Turn to another page in the same book, and the same fonts of type occur. If we 
take up a book published in the time of Francis Bacon, we find the same variations of type. 
By running through many pages, complete alphabets of italic type or large-sized type or full- 
faced type may be found. 

When Francis Bacon wished to infold a cipher message in a book by means of the bi- 

*The Bt-Ltteral Cypher of Sir Francis Bacon, by E. W. Gallup. 
Ditto. Part III. The Lost Mnnuscripts, by E. W. Gallup. 



OF SIR FRANCIS BACON 3 

literal cipher, he usually did not use all the text. It was his custom until 1623 to use for 
the cipher only the words which were printed in italic type. In the First Shakespeare Folio 
and afterward, he used the Roman letters of the headings, italics, and some fancy letters. 
There might be a few words on some pages, more or less on others, but throughout the book 
there were enough for his purpose. His message would then be infolded in these few words 
scattered throughout the book or possibly in a special place where a large amount of italics 
were used in the text. 

Suppose that he decided to use italics for the cipher message. The first step would be 
to make two complete alphabets of italics with which to print the text. These alphabets 
must differ slightly from each other, not enough to attract the attention of the casual reader, 
but still sufficiently to enable the decipherer to identify to which alphabet a letter may belong. 
Let us call one of the alphabets the a-font and the other the ^-font. Now we have a method 
of inserting the message in the text without attracting attention, viz: — by alternating the 
a-font and i-font letters according to a definite system. In the De Augmentis of 1623, 
Francis Bacon gives the key to his system. (Plate i.) 

If the student, having decided on the portion of the text he wishes to decipher, con- 
siders each letter individually and decides whether it belongs to the a- or Zi-alphabet, and 
then writes "a" or "b", whichever it may be, under that particular letter in the text, he will 
obtain a row of "as" and "^'s" apparently without meaning. But in the De Augmentis 
we have the key. We are told to divide these off into fives, or five letters in a group, and 
to each of these groups of five, containing various "as" and "b's", a letter of the alphabet 
is assigned. These will spell out the hidden message. (See Plate 3.) In the examples 
given in the original text, the differences between the a-font and the i-font are made excep- 
tionally distinct in order to make it easy for the student and as an illustration of the method. 
(See Plate 4.) 

In a book in which a real message is infolded, the case is different. The capitals usually 
are easy to differentiate, but the smaller letters are more difficult. Fear of detection during 
his lifetime led Francis Bacon to make the letters of the two sets of type very much alike, 
and were it not that the slight difl^erences are consistent whenever the letter is used in the 
text, one might be tempted to say that they were imaginary. But when the eye has become 
trained to note, and especially to remember, these slight variations in type, we find that 
throughout the book certain peculiarities always brand a letter as^ belonging to a certain 
font, as "a" or "b", and by this means the hidden message may be read. Referring now 



4 THE BI-LITERAL CIPHER 

to the De Augmentis, we find the key to the meanings of the groups of five (Plate i), two 
different alphabets given (Plate 2), and an example for the student to try to decipher, be- 
ginning "Ego omm", etc. (Plate 4); also a translation of the message infolded therein to 
assist in the translating (Plate 3). Here we simply have the problem of learning the 
two different alphabets and then writing "a" or "b" underneath each letter in the text, 
dividing them into groups of five, and then translating the message by means of the key 
alphabet. 

In a piece of original work of this kind the problem is far more difficult. The decipherer 
must first differentiate between the two kinds of each letter and then decide to which font, 
a or h, the letters respectively belong. This is a slow and difficult process, but after the eye 
has been trained to be on the watch for slight differences, they are more easily detected. 
In the alphabets given in the Df Augmentis (Plate 2), the letters of the a-font are mostly 
normal and regular in character, while those of the i-font are usually irregular, often of 
different slope, and more florid in their design. This gives a general guide for the assign- 
ment of a doubtful letter to the a- or h-fom. Another and more important method of differ- 
entiating is based on Bacon's key (Plate i). Here, for the complete cipher alphabet. 
Bacon uses 78 "a's" and 52 "b's." We would, therefore, expect under ordinary circum- 
stances to have a predominance of a-font letters in the text. 

Having now found two different shapes of the same letter in our text, the next step is to 
take each shape separately and count the number of times of its occurrence in a given number 
of pages. The shape which occurs the greater number of times belongs to the a-font and the 
shape which occurs less often to the ^-font. Let us take for example the L. Digges and 
I. M. poems from the Shakespeare folio of 1632, Plates 7 and 88. We have two sets of 
letters represented. The letter "w" occurs sixteen times. There are apparently two kinds 
of this letter on the page. One has two high strokes running parallel, the other has a level 
top. The former occurs twelve times, the latter four times. The former, as it occurs the 
larger number of times in the given space, must belong to the a-font, and the other to the 
b^font. This process should be carried on with every letter, thus dividing the "a's" from 
the b s . 

Sometimes a letter will occur in more than two shapes, and when this is the case it has 
been found best to postpone the assignment of such a letter to either font until the rest of 
the message has been translated, when it will appear from the context to which font it belongs. 
When once the letter is established, it remains consistently the same throughout the book. 



OF SIR FRANCIS BACON 5 

There is, however, an exception to the latter statement; that is, when dots are inserted 
in the text. These dots may be inserted either in, or by the side of, a letter; or on the line 
of writing. The function of the dot in the first position is to reverse the font of the letter 
in which it is, or by the side of which it occurs. This use of the dot is illustrated in the 
sample alphabet in the De Aitgmentis (Plate 2), where the capital "0" of the a-font is 
changed to the Wont by the insertion of a dot. This was probably Bacon's method ol 
making the deciphering more difficult. When the dot is on the line of writing as in the 
I. M. poem, Plate 88, line 3, between "_y" and "r" in "/jnw^ room", it marks the beginning 
of a group of five, — here, "ringr". The position of the dot here is of great assistance in de- 
termining where to begin to read the cipher. 

Besides the occasional reversing the font of a letter by means of a dot, another of Bacon's 
ways of making the deciphering more difficult was the insertion of a group of four in the 
place of a group of five. There is an example of this in the last group of the short poem 
entitled To the Reader, in the Second Shakespeare Folio of 1632. 

"reade rlook enoto nhisp ictur ebuth isboo keBI.". 

babaa ababb baaaa aaaaa bahaa ababa aabaa babb 

WMR AWL EY 

The translation of this fragment shows that it was the signature of the message infolded 
in the poem, and that it was signed by Wm. Rawley, Francis Bacon's secretary. The "Y" 
of the signature is the group of four instead of five as it should be, but it is easy to see that 
the group "babb" must be translated "Y" by referring to the key alphabet (Plate i), where 
we see that "Y" is the only letter the first four members of which are "babb". A group 
of six is occasionally inserted, and may be translated in a similar way. 

In addition to the letters already mentioned, there occur in the text combinations or 
unions of two letters which are called digraphs. These digraphs may be composed of two 
letters of the same font or of different fonts, the letters being joined together by a line either 
straight or curved. Sometimes the line runs above the letters, sometimes below, and some- 
times diagonally across, thus joining them together. It has been found that the earlier the 
book was printed, the fewer the digraphs. In 1599, a word ending in "is" was printed with 
the "i" and "s" as separate letters. In 1622, a digraph was used. 

It is evident that there can be four possible combinations of fonts in these digraphs, wz; — 



6 THE BI-LITERAL CIPHER 

1. Two fl-font letters joined. 

2. An a- and a i-font letter. 

3. A b- and an a-font letter. 

4. Two i-font letters. 

In these combinations there is often a variation from the regular a- or A-font as it ordinarily 
appears in the text, and wherever these variations occur it is necessary for the decipherer 
to refer to the context already translated in order to find out to which font the letter belongs. 
However, when once the font to which the doubtful letter belongs has been established, it 
has been found that throughout the whole book it consistently remains the same. In trans- 
lating the letters of a digraph, they are assigned to the a- or i-font as if they were single letters. 



Liber Sextus. 



Exemplum ^Iphabeti 
"Biliterariu 



^Wiidaci . aaaab. dciabj..aaath.dai?aa. aabaS . 

g ifc 0' (Jg^ c M 

^ (E Q, g{^ S 

^ V W 00, J ^^ 

{(MPd, PiuwP' bahdd . baiah. faff a, . popff* 

Ncque Icvc quidJam obiter hoc modo perfecflum efl. 
Etcnim cvhociplo patet Modus, quoadomncm LociDi- 
Aantiam, per Objeda, qu^ velVifui, vcl Audita! fubjici 
ponTint, Scnfa Animi piofcrre^^ fignificarc Jiceat j fi modo 

Objcdailla,duplicistantuinDiffcTcnua:capaaafunt; vcluti 
pcrOmpanas,pcr Buccinas^pcr Flainmcos^pcr Sonitus Tor- 
mentorum^ &aJia qiixcunque. Verum utincceptumpcrfe- 
quamur ,cum ad Scribcndutp. accingerisjEplftolain Intcriore 
m J/j^hahet urn hoc Biliterarium (oUcs, Sit Epiftola interior^ 

Fuqe, 

Exemplum Solmom. 



(Id:: 



PLATE 1. DE AUGMENTIS, lfi3S. PACJE 167. 
S_Shou'ino- Bacon's cxpla^iation of fhc nilitcrol (lplirr.'\ 



T>e Au^entis Scientiarmu 

Prxdo /imul fit aliud ^Iphabetum Biforme • nimirum, 
quod fins;ulas ^/^Ifhabeti Communis Literas, tarn Capltalcs, 
quam minorcs, duplici Format prout culque commodum 
in, exhibeat. 

Exemplum (^Ifhabeti 
'Biformts, 

CL. h.nS, (l» ^ . <t.A <t-. h, a. p. a. p. a,, p. 




J, ka.p. n. P, a, h.a.D. d. b » d- h.ci.p. 





2'.^.A.cA.-^.^t. t- h u.jmiJiium.'nt., 



XM.JV.tu 0. 0.0. a'ififj. dQ^jj. t^ 

p, d.p.cL. p. db. d. b<t.b.(V, l.d.p.d.p. 
d, b. a.ocL . p . d.l. (i.b,a.p,d.P.ct.P' 

PLATE 2. DE AUGMENTIS, 1638. PAGE 168. 
[S/wzcni^ Bacon's explanation of the Bi-literal Cipher. '\ 



Liber Sextus. 

Turn dcm um Fpiflolx Intcriori_, jam h^ix Biliterata^ 
Fpiflolam Exraiorcm Btformem^ literatim accommo- 
dabis^cX poRc-i defcribcs. Sit Epiftola Exterior • 
planer e te Uolo donee venero. 



Exemplnm (Accommodation^, 
a av cLD.D dab vaa^ b Sa^adbiKt* 



Appo/iiimus ctiam Excmplum aliudlargius cjufdcm 

Cjphr.iTj Scnhendi Omnia ^er Omnia, 



Epiflola Interior, ad quam delegi- 

mus Epijlolam Sfartanam^ mi dam 
olim in Scytalc. 



xerditac J\e^. Jlliruuit 




nis ceciditJmltics^ 
csununt tJUmc mnc nos txhicarcnemw 
flic diuiius man ere posjumus . 




Epiftola Exterior, fumpta ex Eplflola. 

JTrimd Ciceronis, in qua BpijloU Spar- 
t^na involvitur. 



PLATE 3. DE AUGMENTIS, 1638. PAGE 169. 
[.Showing Bacon's explanation of the Bi-litcral Cipher. '\ 



Ve Aii'^meniis Sciemuinun^ 

zt*i^o- omnv ojncio, acvoftiistidali enui tc - 
Cdttais jdhsfacio otniiims : JJUkt iPHniin' 
minnpsaiuhicto . JLanf(t^ ^st cniimnaanL ~ 

J dTTi tw, TVisuHrjicta. re, at mc mm candittcs^ 
fv^ c^o, duiit nan tdcw nv truv ca-usd ifjiczo^ 
titdrnmittiesse accrfnm pziim . Jriccuii:: 
jd Mic mnt: Jjmmonim viuu-s^cih^ 

\o^ci' cos dim crcdihrcs; Per aucs^ oiuw hi^mc^ 
'ta^s^ ajd(vhit\ J\spj causajtmistt^U^-,* 
cpii Pciini^ julpauci jtitvtatmts adzErmttz 

vmti rem dlfarivomrvt. Scnniusu\if-z 

ctKnvu cdutmiiam^ non nli^t^nc^ssdntdz 

PLATE 4. DE AUCJMENTIS, 1638. PAGE 170. 
\_Shoivtng: Bacon's explanation of the Bi-literal Cipher.^ 



II. 

DE AUGMENTIS SCIENTIARUM. 1638 

Cipher Key to Message on Page IJO. 

eGOOm niOfF Icioa cpoTI uSpie TatEe rgate caEte Rissa tiSfa CiooM nIbUS 
mlhii pSEnu nquAM satis Facio TanTA EsteN itnmAg niTud otuOr uMerg 
ameME ritor UmvTq uOnIA niTuni sIpEr fEcta RedEm enOnc OnquI esTie 
GoquI AnoNI Demin tUaca UsaEF fICio VitAm mlHie ssEac eRBAM PutEM 
inCau saHAE cSunt aMMon iusRe gISle gATuS AperT epEcu NiAnO SopPu 
Gnatr eSagi turPe reosd Emcre diTor eSPer quOsc uMTUA DerAS agEba 
tuRRE gisca UsasI quiSU nTqui VellN Tqulp aUcis UntOM NesaD pOmPE 
iumre mDEfe rrlvo Lunts eiiAtu sRELi glOnI ScalU MniaM NonRE llglO 
NesED MaleU oLENt iaEtl ILius ReGia elarg ition isinu idiac ompro bat l^c. 



Deciphered Messages. 
Perditae Res Mindarus cecidit Milites esuriunt Neque hinc nos extricate neque his diutius 
manere possumus 



III. 

A LESSON ON THE KEY IN THE 

*'DE AUGMENTIS SCIENTIARUM" 

1623 AND 1638 



PLATES I, 2, 3, and 4 are facsimiles of Bacon's Key to the bi-literal cipher given in 
the De Augmentis of 1623, and reprinted in facsimile in the De Augmentis in the 
Baconi Opera of i6^S. This key is made up of curious letters designed by Bacon. 
Bacon, however, did not design all the italic letters he used for putting cipher in his books. 
On page 310 of The Bi-Literal Cypher by Mrs. Gallup, edition of 1901, in her translation 
from the De Augmentis of 1624, the cipher reads "Where, by a slighte alteration of the 
common Italicke letters, the alphabets of a bi-literate Cyphar having the two forms 
are readily obtain'd (instead o' letters that I cut out because I feare anie eye might 
reade what is hid in Cyphar, had sucli as are seene heere beene employed in an 
example) in every booke 1 send forth I use," etc. The examples of sixteenth century 
"common Italicke letters" in the facsimiles from the Horace given in Plates 5 and 6 show 
two forms of many letters. The two forms of capital "Z)" are very noticeable and interest- 
ing, as they are forms almost invariably used by Bacon. 

Looking at the key it will be noticed that there are two distinct alphabets given, each 
having its own characteristics. So clearly defined are these differences that after a little 
study it should not be difficult on being shown a letter to say at once: — "This letter belongs 
to the a-font alphabet or to the i-font alphabet." 

Taking the first two capital letters, a-font A and i-font A, it is evident that the a-font 
letter is a plain, unadorned letter, while the i-font has a drooping flourish drawn downward 
from the top of the letter. It is a difference easily seen, and characteristic of the b-iont 
capital letters. 

A, B, D, F, H, K, M, N, R, T, V and W, when they have this drooping flourish, are 
^-font letters. Capital E of the a-font has the same flourish, which emphasizes the fact 

8 



HO R All rs 

M. ANTONII 

MVRETI IN EVN- 

DEM ANNOTA- 
T I O N E S 

ALDI M A N m I DE 

metris Horatianis. 



F.JufJcni Annorationcsin Horari 



lum. 




L V G T> V N I, . 
APVD GVLIEL. ROVILLIVM, 

$ V.B S C V T O V E N ET O. 



M. D, LXUll. 



PLATE 5. HORACE, 1564. TITLE PAGE. 
^Showing hvo fonts of Italics f\ 



1^8 ^V 1 SrOLA RV M 

Per hrumarn Ttheris, Sextilimenfe carninus. 
Dumlicef-iy' vuttumjeruatfirtufra benigrmm: 
RomaUudetitr Samoi.cr Chios, c^ Rhodes ahfens. 
"Th quamcunque Bern tilifirtufiauerit horam 
Crattifuvte tnamumc dulcia differ in anmtm: 
Vt qiiocunqHc IccofHeristVixijfcldsyiter 
Tedicas.iiant/tratiOjC^pudentiacuras, 
Non loan cffiifi latemaru arbiter aufert: 
Calum.non atiimum mutat, cjui trans mare currttt. 
Strenua nos exercet incrtiA:nauthMS,atcjue 
^j<adri£upetimM bene viitere. cjUodpetis,hic ej}: 
^/i Flubris:arjimt{sfi te non defiut ^qiius. 

AD ICCIVM. 

FRtifhbus Agripp£ SiculiSi(juos colligisjcci 
Si reciefrucris:nor. ej} vt copia maior 
^bjouedcTiaripojfntdi.tollecjuercla^: 
Tamper enim ncn ejl cui rtrurn ptppetit vfftf. 
Siventribene.fi btni ejlpeddupjite tuis:mL 
Diftiti£potertif7t regales addere mains. 
Sifirtein medio pofncrum abjlemius, her bit 
l^iuis,c!rvrtica:ficviues,pretinHS vt te 
Confefiim liquidtts firtuna riuus inauret. 
Vel qmanaturam mutarepeeiinia nefcit: 
yd quia cHn[h pittas vna virtute7ninora. 
AIiramur,JiDemocritipecfis edit agellos, 
Cultajj:dumj>eregre eft animsis fine cerpore velox: 
Cum tu interfcabtem tantam,& contagia lucri 
Nilp«irunmfapias:i^ adhuc [nbltmia cures? 
^u£ mare cornpefcant caujf£:qmdtemperet annu: 
StelUJpontefua iujfe'nevagentur^dr errent: 
Quidpremat obfcurum Lund,quidprojerat orbetn: 
Quid velit, &poJJit reritm concordia difcors: 

Emped 

PLATE 6. HORACE, 1564. PAGE 158. 
\_S/iou'ing tu'o fonts of Italics.^ 



THE BI-LITERAL CIPHER 



that, as Mrs. Gallup found, often one or more letters of the a-font were changed to the 
other font. C, G and S all have curious upward turning flourishes resembling each other, 
but not like the above. 

The fl-font / is plain: the ^-font / has a long tail below the line. 

The i-font L has a loop at the top. 

The b-font O has a dot in the centre. 

The P's differ in the curve at the foot of the upright. 

The Q in the b-font is like the figure 2. 

X, b-(ont, has a cross line through the middle. 

T, b-font, has a narrow opening at the top. 

The small letters a, t, m, u and n are rounded letters in the a-font, while in the i-font 
they are sharply pointed. 

The two fonts of the letter r difl^er in the small right line at the top. 

The y, Z>-font, has a small opening at the top while the a-font y has a wide opening. 

The letters b, d, h, k and / have a loop at the top of the stem in the ^-font, and are 
plain letters in the a-font. The a-font p has the oval joining the stem with a slanting line, 
no flourish, while in the b-iont letter p the oval joins the stem with a short straight line. A 
long flourish is on the end of the stem. 

The letter g in the ^-font has a serif or nose and the oval or skirt below the line slants 
upward, but a-font g has no nose, or serif, and is a plain letter; o, a-font, is also a plain 
letter, while o, b-iont, has a flourish across the top. 

The o, s, t and z in the a-font are all plain letters, and o, s, t and z in the Z>-font have 
flourishes at the top or across them. To the plain a-font x is added, in the b-{ont, a cross 
piece. There are four shapes of the small letter u, — two pairs. In the first pair the a-font 
letter is pointed and open at the top, and the Mont is rounded and drawn close at the 
top. In the second pair the a-font « is a rounded letter, and the ^-font sharply pointed. 
The letters may vary in other characteristics, but these are fixed. 

To read the cipher message in the example beginning "Ego", etc., it will assist to mark 
oflFa sheet of paper into rectangles holding easily five letters, and then, beginning with "Ego" 
write out five letters in each space, as 



Egoom nioff 


icioa 


cpott 


us pie 



10 THE BI-LITERAL CIPHER 

The first letter is capital E. By the flourish it should be a b-iont letter, but the capital E 
was the exception, so it must be marked a, or by a dash, or as we please, to define it. The 
next letter is g. This has a slanting oval with a little serif or nose, and a slanting skirt or 
oval below the line. It is a i-font letter, and should be marked b, or by a perpendicular line, 
or by any mark, to define it. Then, looking through all the groups of five for other _^'s, 
there is one in "erga te", line i. It is easily recognized, is the plain letter, and should be 
marked a-font. The next g is in "magnituJo" (3)*, also a-font; the next in "erga me" (4), 
fl-font; in "ego" (6), i-font; and so on until all are marked on the piece of paper. The next 
letter is 0. There are two o's here. Both have the mark across the top, and are ^-font 
letters. They should be so marked in the space. There are two o's in "officio" (i). The 
first is of course /i-font. The second, however, is an a-font letter. The in "pottus" (i) is 
an fl-font letter; in "satisfacio" (2), also an a-font o. Mark every before taking the next 
letter. This is m, a rounded letter, and is therefore a-font, as is the letter n in the next group 
of five. The m in "onmibus" (2), is sharp-pointed, and is a i-font letter. The n 
next to it is again a-font. Mark now every m and n on your sheet of paper. Next comes the 
first small /. Compare it with the next /, the first in "officio" (i). See how much sharper 
is the first i in "officio" (l). The t in "otnni" (i) must be a-font; the first / in "officio" (l), 
ii-font; and the second /', a-font; while the / in "potius" (i) is a i-font letter from its sharp 
curves. 

Now, after marking all the ;'s, look at what is accomplished. The first group of 
five is marked and three in the second group. The two letters remaining are both a-font, 
as they have no flourish on the long end below the line. This gives the second group: a ab a a 
=.e. Notice how helpful it is to mark every letter down the page as soon as you recognize it. 
In deciphering the message in a long work the alphabets should be learned, and, as each 
letter has to be recognized and counted, they will naturally be learned quite thoroughly 
before the translation begins. It is, however, until they are learned, a great help to mark 
all the letters of one kind on one page at once, while the diflFerences are clear to the eye. 

Before beginning the examples from the Second Folio, the student is strongly advised 
to work out the whole of this example. 



•"Figures enclosed in parentheses refer to line numberings on Plate 4. 



OF SIR FRANCIS BACON 



11 



ALPHABET 



A 

a a a a a 

F 
a a b a b 

L 
a b a b a 

Q 

a b b b b 

W 
b a b a a 


B 

a a a a b 

G 
a a b b a 

M 
a b a b b 

R 

b a a a a 

X 
b a b a b 


C 

a a a b a 

H 
a a b b b 

N 
a b b a a 

S 
b a a a b 

Y 
b a b b a 


D 

a a a b b 

I 
a b a a a 

o 

a b b a b 

T 
b a a b a 

Z 
b a b b b 


E 

a a b a a 

K 
a b a a b 

P 
a b b b a 

U 
b a a b b 



IV. 

AN EXAMPLE OF THE METHOD OF 

TRANSLATING THE CIPHER 

THE poem by L. Digges in the Second Folio has three lines in Roman letters "TO THE 
MEMORIE of the deceased Author, Master VV. SHAKESPEARE," and then a fancy 
"S" beginning the word "Shakespeare" in Roman letters before the italic letters begin. 
In the Second Folio, as in the First, the Roman letters in the headings are used for the cipher, 
but although in the First Folio the fancy letters at the beginning of the several poems and 
generally throughout the book are used in the cipher, in the Second Folio Wm. Rawley, 
Bacon's chaplain, who put in the cipher, did not make use of them. 

Leaving out the Roman letters, the first letter is the a in "at length", line 4. Mrs. 
Gallup's book, The Lost Manuscripts, on pages 108 and 109 gives the grouping for the 
L. Digges Poem. The first italic group is "ailen" (4)*. To analyze it in the same way as 
the Key from the De Aiigmentis was analyzed, the differences between the two fonts of the 
small letter a must first be studied. According to the descriptions of the small letters on 
page 48, " the a-font a has a somewhat broad oval, shorter than the stem at the base of 
the letter. The last stroke is light and free. The i-font a has a narrow oval standing on a 
line with the stem at the base of the letter. The last stroke is close." The letter a in "at" 
(4) is rather blotted, so that it looks broader than it is. It stands on a line with the stem; 
the last stroke is close, and it is dotted. It is a b-iont letter dotted to an a-font. 

The next letter a is in "name" (6), a typical a-font letter, having a broad oval shorter 
than the stem at the base, and the last stroke free. The a in "that stone" (6) is carelessly 
drawn by some workman who drew the hand-made type long ago. It has the oval and 
stem of the a-font, but the last stroke is not free. It is what Mrs. Gallup calls a hybrid 
and leaves unmarked until the context tells what it must be. The next a is in "alive" (8), 

*Figures enclosed in parentheses refer to line numbering^ on Plate 7. 

12 



THE BI-LITERAL CIPHER 13 

and is a typical Wont letter; the a in "shall" (8) is a-font; in "Brasse" (9), a-font; in "and" 
(9), fl-font; but in "Marble" (9), the narrower oval of the letter tells which font to put it in. 

The <'s of the two fonts are thus described, "^-font t is a well-formed letter with a 
light stem. The cross-bar is often a distinct nail-head, last stroke free. The i-font / is a 
heavy letter with rounded base, the last stroke close." The / in "at" (4) is heavy with a 
rounded base. In order to find if it is closer than the a-font, the angle between the stem 
and the line of writing must be bisected. This done, it evidently is drawn to curve inward: 
it is a i-font letter. The t in "thy pious" (4) has a nail-head cross-bar, and is a typical a-font 
letter. The t in "length" (4) is an a-font letter blotted, but the tall, straight stem is plain 
and the cross-bar is a nail-head: — it is an rt-font letter. The t in the second "thy Workes" 
(5) is a heavy letter with rounded base, and the last stroke curves inward; it is a Wont letter. 
The t in the first "thy Workes" (5) is a-font. The t in "out-live" (5) has the rounded base 
and last stroke close and is a />-font letter. 

The / in "length" (4) is a heavy letter, rounded at the base. The serif at the top is 
slanting and the last stroke close: it is a typical Wont letter. The / in "World" (5) is the 
same. The / in "out-live" (5) has a very close stroke for the last stroke, and there is no 
doubt but that it is also a Zi-font letter. The / in "dissolves" (7) is a-font. It is differently 
drawn, but it has no rounded base. The /'s in "alive" (8) and "looke" (9) are both a-font 
also. 

The four forms of ^ given in the descriptions are these. In "the first form o( e (a-font) 
the line bisecting the loop makes a large angle with the line of writing, and at the same time 
the curve is long and open. Second, the bisecting line makes a less angle, but the curve 
is short and close. In the i-font e, first form, the line bisecting the loop makes a large 
angle with the line of writing, while the curve is short and close; and in the second form the 
bisecting line makes a more acute angle, and the curve is long and open." 

These four forms of the letter e take much and careful study, since once their differ- 
ences are mastered it is not only for this alphabet but for all alphabets, for, although some- 
times the a-font forms here given are ^-font in another alphabet, or one is a-font and one 
Wont, there are the same four forms in every book Mrs. Gallup has translated. Take 
the e in "at length" (4). The line bisecting the loop makes a large angle with the line of 
writing, or, to put it simply, the loop is slanted upward, and the curve is long and open; it 
is a-font. The first e in "Fellowes" (4) is the same; the second e in "Fellowes" (4) is the first 
form of the i-font e. The e in "give" (4) is the second form of the a-font e; in "The 



14 THE BI-LITERAL CIPHER 

World" (5), it is the first form of the ^-font e. Both the first and second "Workes" (5) have 
a-font e of the first form. The word "out-live" (5) has a i-font e of the second form. 
"Tombe" (6) and "name" (6) are both a-font, first form. 

The "n, rt-font, has a clean, thin line at commencement of the curve, broad at base, 
free lines at top and bottom. 5-font has slight shading in curve at top, is narrow at base, 
last stroke close." A comparison of the n in "and Marble" (9) and the n in "nobly" (20) 
with the n in "at length" (4) will show that the latter resembles the n in "nobly" (20), and 
therefore is a h-iont n. The n in "name" (6) is a broad letter and is a-font; in "when" (6), 
it is ^-font; and in "rent" (6), it is fl-font. This gives for the first group a b b a b. 

The second group is gthth. "The fl-font g has the lower loop pointed at the left 
side; the nose is a hook. The ^-font g has the lower loop angular at the left side; the 
nose is a straight line or a nail-head." Compare the ^'s in the examples given in "feeling^' 
(23) and in "Stage" (17). The g in "length" (4) is a /i-font letter, and like the one in 
"give" (4). In "give" (4), however, it is a dotted letter reading a. The g in "Ages" (10) 
and in "prodigie" (11) are i-font letters. The g in "wit-fraught" (15) is a-font, and in 
"parly in g" (21) is ^-font dotted to a-font. 

The Cs being marked, the next letter is h. The a-font h has a loop rounded at the top. 
The line bisecting the loop does not make a large angle with the line of writing. The i-font 
h has a loop pointed at the top. The line bisecting the loop makes a large angle with the 
line of writing. The two /z's in the first line are the examples given in the descriptions, 
and are well-drawn letters. When looking for the pointing of the loop at the top of the h, 
look inside the loop as well as outside, as the outside of the loop is often rounded in the 
printing of the letter. The h in "The World" (5) and the first "thy Workes" (5) are both 
i-font. In the second "thy Workes" (5), the h is a-font, as the round top and large angle 
made by the bisecting line distinctly show. In "which" (5), the first h is an a-font, and 
the second a i-font, letter, as the distinctive angles show. This marks two groups of five. 
The second group is gthth^baaab. 

The third group is ypiou. The y is a-font as its wide mouth shows. The y in the first 
"thy Workes" (5) is a /"-font letter, as the opening at the top is distinctly narrower. The y 
in the second "thy Workes" (5) is a-font; in "by which" (5), is a-font; and in "Thy 
Tombe" (6), is i-font. 

"The p in a-font is a broad, well-formed letter; in i-font the head is blunt, the loop 
is narrow in the lower part, and it slants to the stem." The a-font example is seen in 



OF SIR FRANCIS BACON 15 

"pious" (4), and the ^-font example in "prodtgie" (11). Note especially in the i-font the 
way the loop slants to the stem. In "parlying" (21) is another a-font letter. 

The two fonts of the letter / are not difficult to distinguish. The examples given are 
found in "give" (4) and "ptous" (4). The sharp angles of the / in "give" (4) are con- 
trasted with the rounded angles in "pious" (4), which is a i-font letter. The / in "out- 
live" (5), however, is an a-font letter. 

The fl-font is somewhat pointed at the base. The line bisecting the letter does not 
make a large angle with the line of writing. The b-font is rounded at the base, and the 
bisecting line makes a large angle with the line of writing. "Fellowes" (4), "World" (5), 
"Workes" (5), "out-live" (5), and "Tombe" (6), all contain a-font letters. The o in "pious" 
(4) is i-font, as also in "stone" (6), the second in "looke" (9), and in "to all Ages" (10). 

The us is a digraph. In the Descriptions of the digraphs, page 59, " us is the union 
of a broad letter u having a short free line at the commencement, with a simple form of 
short s in font a." It is the combination aa. The marking of this group ypiou is abbba. 
Thus the first three italic groups have been shown to be 

atlen gthth ypiou s 
abbab baaab abbba a 

O S P 

To the beginner, these slight differences between the two fonts may seem almost 
imaginary, but if Bacon's sample alphabet in the De Augmentis (Plate i) is referred to, 
it will be found that the differences between the two alphabets in this case are of the same 
general character. 



V. 
SECOND FOLIO, 1632, L. DIGGES POEM 

I. Cipher Key. 

tOtHE memor iEOft HeDEc eASeD aUtHo rmaST eRWs hAKeS peAre hAlcES 
PearE aTLeN GthtH yPIOu sfell oWEsg iveTH EworL dtHYW orkes ThyWo 
rkesb ywhIC HouTL ivEth YtoMb eThyn aMeMU stWhe NthaT stONE isRen 
TaNdt iMeDI ssolv EsTHy stRAT fordm oNUMe NtHer eweAl ivESH aLlVl 
EwthE EstiL ItHiS boOKE wHenb rasSE andmA RblEF AdeSh AUmA KetHE 
eloOk efRES hTOal laGes Whenp osTer Itles HAUL oAThw haTSn Ewthi 
nkEal lispr OdiGi eTHAt Isnot shake sPear EsevR yllne eAcHv eRSeH eREsH 
aLlrE vivER eDeEM etHee fROmt hYHer sENoR FiRen OrcaN kring AgEAs 
NasoS alDoF hiStH ywitf rAugh Tbook esHal lonce InvaD EnoRS halll EreBE 
leEve Orthi NkeTh eEdea dtHOu GhmiS TunTI Llour Bankr ouTst aGEbe 
speDI mpOss IblEW ithso mEnew sTRai neTou tDoEp AsSIo NsofI ulIET 
aNDhE RroME oOrTi UiHE aReas cENem OreNo Blyta KetHA nwHEN thVha 
IFeSW oRDpA RIyin gyOma nSSPa keTil ITHes EtilL anyOF tHyvo lumES 
RestS haLLW iThmo rEFir emOre fEeli ngBeE xPres tBEsu reoUR ShaKE 
sPEAr eTHoU cANst never DyeBU tcRow Ndwit hLawr EllLi veete rnalL 
yLdIg geS. 

2. Deciphered Message. 

many old poems o' Sp. an' Sh. at a due time shew, mayhap, w'ch MSS. F. hid. But such 
nere won great praise — look'd, men now say, so faire, a subverti'g surrende' vainely should 
intrude. 

More pens did shine I find upon a veritable — . 

i6 



TO THE MEMORI 

of the deceafed Audior, Mafter 



VV.S 



HAKESPEARE. 




^Hake-fpeare,4f Icnph thy pious Fellowes -give 
' The World thy Workes : thy Workesfy yphich^out-lhe j 
Tl)y Tombc/hy ndme mufl: H^hen thatfloneis rent. 

And Tiviie dijfolves thy Stratford Montonent 

Here 'ive alive Jl?all r^ie'l^ thee UiU. This (Booke 

When 'Brnjfe and Marble fade ^^jaU make thee looh 

FrcJI) to allJges : ivhen Tojieritie .q 

Shall loath what's ne'ii> ^thinke aSis prodi^ie 

That is not ihakefpeares j eVry Linejiach Verfe 

Here fJ:>all reyiveyredeeme thee from thy Herfe. 

T{o>- Fire^^nor canhing ^g^-l^^ ^afofaid, 

Ofhis^hy Ti^itfrdHght 'Booke jhaUonct inVade, 

NorJJ?all J ere belecVe^or thinke thee dead 

(Though mifi)untill our hanh'out Stage hej^ed 

( J t>ipofitble)'ft?ithfome ne"^ frame t'out-dee 

'Pafsions oflu\kz,aud her Romeo • 

Or till I he are a Scene more nobly take^ 2 

Than ivhcn thy halfe^fword par lying Yomsins J^ake, 

Tin thefe fill any of thy Volumes refi 

Shall with more fire ^more feeling be expref, 

^^y«re,o«r Shake- fpcare//;o« canf never dye^ 

'But croMmd Vtth La^relljive eternally. 25 

L- Digges. 

PLATE 7. SKroND FDI.IO, 1(132. I,. DIGCJES POEM. 



f^o>\f A ^'(">f d 


poht A At-U 3 


AJ 





©:S 


(p (p 


CC 


2^2^ 


c c 

-■I .^m^ 


^'^^ 


2)2) 


vS s 


E B 


TT 


F F 


VV 


G G 


WW 


HH 


I 


/ y 




KK 




LL 




MM 




NK 





PLATE 8. SECOND FOLIO, 1632. L. DIGGES POEM. ALPHABETS, CAPITAL LETTERS. 



Fohr A ftif B Pont A To^^t -S> 



b h 



^ ^ 



d a 

e e e e 

f f 

(X 

/; h 

■ • 

t I 

kk 



m 


m 


n 


n 








r r 


u 


u 


V 


<v 


-%) 


IP 


X 


X 


y 


y 



K. 



PLATE 9. SECOND F'ULIO, J(i32. L. DIGGES POEM. ALPHABETb. SMALL LETTERS. 




PLATE 10. SECOND FOLIO, 1632. L. DIGGES POEM. DIGRAPHS. 

Note. Tlie dii^raph "us" marked \_al>^ should be marked [/'/']■ The dii;raph "us" marked [Ihi] 

should be marked [«<?]. 



C I) > o 

M'^VVILLIAM 

SHAKESPEARES 

COMEDIES, 
HISTORIES, and 
TRAGEDIES. 5 

Publifhed according to the true Originall C opies* 

Thefecind Jm^refsion, 

PLATE 11, SECOND FOLIO, 1632. TITLE-PAGE. UPPER PART. 



Lonvon, 

Printed by Tho.C6tes/ot 7{ohert Mt^zud are to be fold at the iigne 

oftheBlackcBcarc in Pauls Church-yard. 1^32. 10 




PLATE 12. SECOND FOLIO, 1632. TITLE-PAGE. LOWER PART. 



TO THE MOST NOBLE 

INCOMPARABLE PAIRE 

OF BRETHREN, 

William 

Earic of PcQabroke,5cc. Lord Chamberlaine to the 
K^igs mojl SxcetlenC ^SMajeJlie. 

AND 

Ph IL IP 

EarleofMontgomcry,&c. Gentleman ofhis Majefties 
Bcd-Chambfir. Both Knights of the moft Noble Order 
of the Ganer, and ©ur Gngular good 
LORDS. 

PLATE 13. SECOND FOLIO, 1632. DEDICATORY EPISTLE. TOP OF FIRST PAGE. 




Right Honourable, 

\ Htl^ we/ltiJj to he thmh^cfull in our particular^ for ij 
the many/ay>ors we haye received JromjourL.L 
we arefalne upon the ill fortune^ to mingle two the 
mofl divers thmgs that can bcyfearey andrajfme/p^ 
rajhnejje in the enterprise ^ midfeareofthefuC" 
cejfe. ForyWhenweevaliie the places your //» H. fujlaine^ wee 20 
cannot hut kiiow their dignity greater, than to dejcendt6 the reading 
ofthefe trifles: and^while we na?ne them trifles^ we hay e deprivd 
ourf elves of the defence of our T> edication, ^ut fince your L, L . 
haye heenepleaidto thinf^e thefe trifles fomething^ heretofore -^ and 
have projeqmted hoththemyO" their Author livingyWithfo muchfa^ 2j 
your: we hope,(that they outdivinghim^andhe not having the fate, 
common withfome , to he Exequntor to his owne wrttings)you will 
ufe the fame indulgence^ toward thcnu , you have done unto their 

^4z parent. 



PLATK 14. SECOND FUMO, Kl.'il'. DEUKAIORV EPIS I l.i;. I.IIWIIK PAKE OF FIKSF PACJE. 



The Epiftle Dedicatory. 30 

parent, Thre is agre At difference^ whether anj ^oof^ choofe his 
TatroneSyOrfinde tbeni^ : Tto hath done both* For, Jo much were 
jourL*L, Hissings 0/ the jevcrall parts ^nhcn they ivere aHcd, as be- 
/ore they were piihlijhcdythe Folumne asl(d to be jours. We haye 
but collected them,and done an office to the dead :, to procure his Or^ 35 
phanei,(juardians • without ambition cither of Jelfe^proft ^or fame : 
onely tol^epe the memorji of fo worthy a Friend ^ and Fellow alivcy 
as was our S hakespear e Jy hum b/e offer 0/ his Flay cs^t&y our 
mofl ^J\(^oble Tatronage, U^herein^as we hay>e jufily obfcrved, no 
man to come neereyour L L, but with a l^nd of religious addrefje • 40 
it hath been the height of our careen ho are the Frejenters^ to make 
the Trcfent worthy of your H.H.hy the Ter fiction, "But, there we 
mufl alfo craye our abilities to be confidi red, my Lords, We cannot 

PLATE 15. SECOND FOLIO, 1632. EPISTLE DEDICATORY. SECOND PAGE. UPPER HALF. 



goe beyond our ovonefomrs. [ ountrcy hands , reach forth Mil{e, 
(^reame, Fruits, or yvht they have : and many ^J^jtions (tve have 45 
heardyhathadnotCjummesand fncenfe^ obtained thetr requejls 
yvith 0-^ leayened Cal^^-; ft was no fault to approach thetr 
godsyhy "phat meanes they could: ^ndthe moft , though meanejl, 
of things y are made more precious , ivhen they are dedicated to 
temples, fn that name therefore, rpcmojllmmhlyconfecrate^to 30 
your H.H thefe remaineso/your/eryant Shakefpeare ^ that vphat 
Jeln^ht is in them, may be ever your L»Lj he reputation his, and the 
faults ours Jf any be committedfy a pairefo careful! to JJpew their 
gratitude both to ths liying,and the dead,a$ is 



Your Lordfhips m ft bounden S5 



9 

Henry CondelL 

PLATE 16. SECOND FOLIO, 1632. DEDICATORY EPISTLE. LOWER PART OF SECOND PAGE. 




T(9 the great yariety of^aders, 

Rom iho. moft able^ to him that can but Ipell : There 
you arenumber'd Wc had rather you were weiahd. 
Efpecially^wheiithefate of all Bookes depends up- 
on your capacities : and not of your heads alone, 5 
but of your Pur fes Welljitis novvpublike,andyou 
will ftand for your priviledgcs^vve know : to reade, 
andcenfure. Doefo^butbuyitfirft. Thacdochbefl 
commend aBooke,the Stationer /ayes. Then, how oddefoeVeryour 
braines be^or your wifcdomes^makeyour licence the (ame, andlpare lo 
not. ludge your fixe-penny'orth jour (hillings wo: th , your Hac fhil- 
lings vvorthatatime, or higher, fo you rife to the jufi: rates, andweL 
come. But,wkateveryou doe,buy. Cenfure will not d) ivo a Trade, 
or make the lackegoe.And though you be aMagiltrate of wit, and fie 
on the Stage at 'B lack- Fry crs ^ or theCeck-fft, toarraignePlayes dayly, i^ 
know,therePlayes have had their triall already, andltood out allAp- 
peales ; and doe nov? come forth quitted rather by a Decree of Court 
then any puichas'd Letters of commendation. 

-It had beene a thing, we confcfTcyWorthy to have beene wiflied,that 
the Author himlelfe had livd to have fet forth, and overfeene his ownc 20 



PLATE 17. SECOND I'OLU), 1632. TO THE GREAT VARIETY OF READERS, UPPER HALF OF PAGE. 



wricings-Butlinceit:hathbeenordain'dother\,vire,andhe by death de- 
parted from that right;,w'e pray you doe not envy his Friends, the office . 
of their care^and paine;,to have colledled and pubiifh'd them- and fo to 
have pubHlTit them, as v-here (beforej) you were abus'd with divers 
ftolne 5 and furreptitious Copie5,maimed and deformed by the frauds 23 
andfteahhs of injurious ImpoftorSjthacexpos'd them : even thofe, are 
now ofFer'd to your view curcd;,and perfect of their limbes ^ and all the 
reft,abroluteinthelrnumbersasheconceivedthem. ''^'ho,as he was a 
happy imitator of Nature^w as am oft gentle exprefTer of it. His irjndc 
and ha-iid went together : And what hethoughtp he uttered with that 30 
cafineflejthatwehave Icarce received from him a blot in his Papers'. 
But it is not ou^P^o^ Ince^who onely gather his w^orkes,and give them 
youtopraifehim. Itisyours that reade him. And there we hope, to 
your divers capacities, you will findeenough,bodi:odraw,and hold 
you; for his wit can no more lie hidjthen it could be loll. Readehim, 2)^ 
therefore- andagaine, andagaine : Andif thenyoudoenotlikehim, 
furelyyouare inlbmemanifeftdanger^juottounderftandhim Andfb 
we leave you to other of his Friends, who , if you need, canbeyonr 
guides rifyouneede them not;, youcanleadeyourfdves;, and others. 

And fuch Readers we wifli him. 10 

A 4 lehaBiminge. flenrj CenM. 



PLATE IS. SECOND FOLIO. 163_'. TO THE GREAT VARIETY OF READERS, LOWER HALF OF PAGE. 



FoAt A Font B A»+ A /"«■«* 3 f-,7,i A Fo>^B 

A ^ L L WW 



T) © 





E S 


T T 


F F 

9 9 

H H 


s s 



If 7 T 



PLATE 19. SECOND FOLIO, 1632. DEDICATORY EPISTLE. ITALIC CAPITALS. 



fpNT A rovrB 


FouTA f<».r^ 


^o^«■ A Font d 


a a 


a 


t t 


hh 


11 


u u 



c c 


mm 


U 'U 


dd 


n n 


"^ ft? 


e e e e 





X X 


ff 


ff 


y y 


gg 


i ^ 




hh 


r f 




t i 


^[f, 





PLATE 20. SECOND FOLIO, 1632. DEDICATORY EPISTLE. SMALL LETTERS. 

Note. The b-fcnt f should slant more to the ri^ht. the a-font o to the left, and the b-font 
to the right. 



/La, 






as 

a n B 3 



fi fi 



Jh 


/ 


fi 




/ 




fi 


fi 



US 



/ 




/ 


fi 


fl 


fi 



ti U IS u 

« II U li 



fl^ 



# 



/ 



fi fi 



PLATE 21. SECOND FOLIO, 1632. DEDICATORY EPISTLE. DIGRAPHS. 



ll 



Jilus Quartus. Sc^naTrima. 



Enter Vuleatinf^ Speedy and cert aini Ont-ltttvej. 
I, Out-f. Fellowes.ftandfjft.- 1 fee a paa'cnger. 



KiHiiU 



I Eg. i u'ill not tajlc your Ladifliip; 
Good morrow (gentle Lady.) 
SiL Good morrow, kiade 5iix ^/-«!w;-^. 



^ttnt. 



Ext. 



ScamQmrta, 



E>ittr Liuncfy Tmhtm^ Inlm, Silvia. 

Lm. When a marjs fervsnt fliall play the Curre vy;t: 



THE 

TEMPE 

5 Q^HusTnmus. Sc^mTrima, 



dayfrecdc«ne. 
he. O brave Monfteri lead the way 



Exeunt. 



^ JtiusTirtiuSo Sc^na^Prima, 



Scana qu'mta. 



inter Hon^SimplfJalfl^f.liurdoife^E-^ 
CAtw, Quickly. 



i.'int, i \v Jil not Iby to night for all th 
Therefore away jco get our ftuffe aboord. 



4 Alius Qmntus, Sacna ^ 



S'vtir theAicrchAnt a/tdthi Go!dJ\ 

(jil-l I ain fony Sii that I have hindrc; 
But I proceil he had the Chaine of n;c, 

1 fcarc my /«/u would not deigne my hViC?, 
Rt-f^iving them from (uch a vvorthlcne pof 




6 Scitna Secursda^ 

Enter Itflia MdEmetta, 
IhI, But fay Lm:etta(now arc we alone} 



^ ScanaTertia, 



PLATE 21 A. SECOND FOLIO, 1G32. ILLUSTRATIONS OF DIGRAPHS. 



ror 1 attend heere , Kutlleieeyooiounc. 
Bi.i^. 'Tis very good : Imuftbccirciimflanc'd. 

ExfHntOnxct. 



ABus Ouartus, Severn Trhm, 



Enter OtheEo ^andla^c, 
Jago. Will you thinkc fo ? 



i^vo Gentlemen of 



10 



e^S«j Trimus^ Sc^m Tri 



Is eaten by the < 
Prothcm,Md Speed. E^en fo by Lo 

Istuin'citotol 

'hnine. Lofinghisverc 

Jc,uiy loving frathem ; And all the faij 



The Scenejan un-inhabitedlfland. 
Us(mnesofthc (*AUors^ 

ALonfo^Vjng of Naples. 
SeiiAJltift hid brother, 
Pro[pero,the right Dake c/MiUaine. 
Aniboni$ hU Brother^ the ufarpwz Duke cf /1illaw,\ 



12 



Thefirjl Tart oflQng Henry ^he 



dayes have I warchr, 
v Boy doe thou watchi 

nd hr'nor rncworr? 



How far'ltthou.Mirn 
Oncofthy Eyes, and 
Accurlcci Tower, ace 



13 



14 



T^hefirjl TartofK^g Henry the Sixt. 



a///j IVelithat cfids JfeiL 



aged Back againft mine Arme, 
leemy Difcaic. 
)rf a Cafe, 



Rojftllion and my brother. 



Ol/iw.Thou do'ft then wrong n cocke, and will kcepe hini 
Which givcrh many ■vVounJs,\v ^- (mufled 

Mournc nor, except thou iorro ,v 
Onely gi;'tordi.Tt'ormy Funerall 



Bequeathed downe ; 
Which were the gn 
InmcctoIoofe.Thii 
Brings in the Cham 



15 



Thefirjl Tart of Henry the Sixth. 



PLATE 21 B. SECOND FOLIO, 1632. ILLUSTRATIONS OF DIGRAPHS. 



To the Reader^ 

This Figure^that thou here feeftput, 



It was tor gentle onaicelpeare cut . 
Wherein the Graver had aflrife 

VVithNature^toout-doo the life : 
OjCouId he but havedravvne his Wit 

As well inBraffe^as he hath hit 
His Face; the Print would thenfurpalle 

All^that was ever writ inBrafle. 
Butjfmce he cannot^Reader^looke 

Not on his Picture^but his Booke. 

B.L 

PLATE 22. SECOND FOLIO, 1G32. TO THE READER. 



Fo>\.t A fo'^^S 


F<?*i f A feiCfB 


f^oHt h FoMt-6 


ffht ^ Fc\t8 


AA 


TT 


a a 


t t 


BB 


VV 


b b 


V V 


CC 


WW 


c c 


u u 


DD 




d d 


WW 


HE 




e e 




F F 




f f 




GG 




S 8 


/V" 


HH 




h k 


It 


I I 




1 1 


(T 






k k 


ft 


r,L 




I I 




MM 




ni m 




NN 




n n 




OO 




o 




PP 




PP 




RR 




r r 




SS 




f s s f 





PLATE 23. SECOND FULIO, 1632. TO THE READER. TWO-SPACE ALPHABET. 



VI. 

THE METHOD OF EXTRACTING THE CIPHER 

FROM THE DEDICATORY EPISTLE, 

SECOND FOLIO, 1632 

THE trained decipherer would first select and draw out the letters of what he thought 
were the two alphabets. These he would carefully count and arrange in fonts, and then 
take two or three lines of the Epistle anywhere and test the markings. To test the mark- 
ings, after thirty or more letters have been marked a or b, three or more consecutive i-font letters 
must be sought for. In a group of five these would read abhba, abbbb, aabbb, aaabb, and 
babbb. Remembering that no group begins with two ^-font letters, the groups must be 
marked off on either side of the group or groups containing the three i-font letters. It 
will then be found by elimination what must be the proper groupings. For example, take 
"at length thy pious Fellowes give the PForU" 
ab babbaa aba bbbaa aaaaabba aaaa bbb aaaba. 
Here are two groups of three ^-font letters each. Taking "hypio" for the first trial group, 
the five letters before it are 

"ngtht" 
bbaaa. 
This is a group beginning with two b's and obviously wrong. Changing now 

"hypto" 
babbb 
to 

yptou 
abhba 
= p, the group before it will be 

"gthth'' 
baaab 
= J, and the groups after it, 

17 



18 THE BI-LITERAL CIPHER 

"sFfll" 

aaaaa 

ft »> 

mvesg 

abbaa 
=r n, and 

tvetn 

aaabb 
= d. This gives "SPatici", and is correct. Flaving thus established the alphabets, he 
can begin to decipher. 

As the alphabets are practically the same in both First and Second Folios, it is not very 
difficult to take Mrs. Gallup's translation of the Dedicatory Epistle* in the First Folio and 
marking it by letters of the two fonts, obtain thus the alphabet of the Dedicatory Epistle 
of the Second Folio. This has been done successfully, as the variations are few. 

However, Mrs. Gallup's groupings and described alphabets make either of these 
arduous steps unnecessary in this book. 

The message begins with the first word on the Title page, but the first italics are "King's 
most Excellent Majestie", line 7, on the next printed page. The alphabets of Italic letters 
will be found in Plates 19-20, and the descriptions on pages 57-68. The first group is 
"Kings". The first letter is capital K. Turning to the description, page 58, it is at once 
evident that this is a i-font letter, since it is the example given, and is also a well-made 
letter. The a-font letter K is not found in the Dedicatory Epistle. Small letter / is the 
second letter in the group. If of the a-font, it should be rounded at top and bottom, and 
the stem should be of uniform thickness, while the i-font i begins with a hair line and has a 
delicately shaded stem, as in "thankefull in our", line 15, and the first /' in "ambition" (36).** 
The / in "Kings" (7) has a rounded top and bottom and the stem is of uniform thickness; 
it is an o-font /. As two h-font letters never begin a group, it would be necessarily an a-font 
letter. The i's in "Majestie" (7), "Whilst" (15), "particular" (15), "mingle" (17), "divers" 
(18), "things" (18), etc., are a-font letters. The i's in "have received" (16), "/// fortune" 
(17), and "then" (21), and the first / in "dignity" (21) are ^-font letters. 

*Fra>!cis Bacoti's Bi-Literal Cypher, page 165. 

**Figures enclosed in parentheses refer to line-numberings on Plates 13-16. 



OF SIR FRANCIS BACON 19 

The small letter n is the third letter of the first group, but before studying it all the 
small t's on the page should be marked. The description of the n is practically the descrip- 
tion of the i-font m. "It is delicately formed, the hair line shows distinctly in the loop, 
and the last stroke is light and free." The n's in 'Uhankefiill" (15), "fortune" (17), "things" 
(18), "rashnesse" (18), and "rashnesse in" (ig) are a-font letters: in "in our" (15), 
"many" (16), "falne" (17), "upon" (17), "mingle" (17), and "can be" (18), they are ^-font 
letters. The n in "Kings" (7) is a ^-font letter. 

Small letter g in the a-font "has a prominent nose. The lower loop is somewhat 
pointed at the left side. The line bisecting the upper loop makes a large angle with the 
line of writing," as in "Kings" (7), "mingle" (17), "dignity" (21), "greater" (21), "reading" 
(21), and "something" (24). A more delicate letter, a small horizontal line generally but 
sometimes a hook for a nose, lower loop wide at the left and the angle of the upper loop with 
the line of writing smaller than the a-font g, are the characteristics of the i-font g. Look 
at "divers things" (18). 

The s in "Kings" (7) is the short form. It is a heavy letter, and the curve is close at 
the top. It is an a-font letter. Other a-font letters are seen in "favors" (16), "things" 
(18), "places" (20), "them trifles" (22), "trifles something" (24), and "writings" (27). The 
s, /i-font, has a free, open curve at the top, as in "divers" (18), "these trifles" (22), "our 
selves" (2j), and "pleas'd" (24). This ends the first group, "Kings": babaa :=iu. 

The next group is "mostE" . The m in "most" "has loops nearly alike, both rounded 
and shaded at the top. The last stroke is close." Other a-font letters are in "many" (16), 
"from your" (16), "most" (18), and "name" (22). The i-font m "is delicately formed, 
the hair line showing distinctly in the second loop and in the last stroke which is light and 
free," as in "mingle" (17), "them trifles" (22), "both them" (25), "much favour" (25), and 
"common" (27). 

The (7-font is "somewhat heavy and is narrow at the base like the oval of the small b 
in this font." The i-font o "is delicately made and is somewhat wide and rounded at the 
base like the oval of the letter b in the ^-font." Compare the b in "humble" (38), and the 
o in "two" (17), or "memory of so worthy" (37). Other <7-font o's are in "for" (15), "favors" 
(16), "fortune" (17), and "to mingle" (17). The b in "be thankefuU" (15) is an a-font letter. 
Compare it with the o in "our particular" (15), "your L. L." (16), "most divers" (18), and 
"of the successe" (19). The o in "most" (7) is a i-font letter. 

The digraph st "is the union of a heavy long s with a small t rounded at the base. It 



20 THE BI-LITERAL CIPHER 

is an a i combination. The same long s with a sharply pointed / in "Majestie" (7) \s a a ; 
in "Whilst" (15), the combination '\s a b; and in "study" (15), b a. The long s is delicately 
made in "most divers" (18) and is i-font combined with the a-font t. It is combination 
h a. 

E in "Excellent" (7) is a capital letter, and referring to the descriptions we find that 
the script E is a i-font letter, like the i-font E in the Key in the De Augmentis. 

The next three groups are "xcell entMa jesti e". The a-font x has the light line curved, 
as in "Exequutor" (27). The ^-font x has the light line straight, as in "Excellent" (7). The 
c in "Excellent" (7) is a heavy letter with short curves, as in "can be" (18), "received" (16), 
"successe" (19), "places" (20), "descend" (21), and "defence" (23). It is an a-font letter. 
The i-font r is well-formed with wide open curves, as in "our particular" (15), "cannot" 
(21), and "Dedication" (23). 

The small letter e has four forms — two forms in the o-font and two in the i-font. 
These four e'& in "Excellent Majestie" (7) are all a-font letters. The first small e in "^.v- 
cellent" (7) is the second form. The angle made by the line bisecting the loop is less, the 
curve at the bottom is narrow and close. The first e in "Majestie" (7) is the same. The 
second e in "Excellent" (7) and the second in "Majestie" (7) are the first form of e, a-font, 
having the line bisecting the loop making a large angle with the line of writing and the curved 
base wide and open. 

The first form of i-font e has the angle formed by the line bisecting the loop large, and 
the curve is short, as in "servant" (51) and the first e in "therefore" (50). The second form 
has the angle small and the lower curve wide, as in "we" in "we are" (17), and "goe" in "goe 
beyond" (44). 

The / in the o-font is heavy and rounded at the base. The /, b-iom, is well-made and 
pointed at the base. 

The digraph // in "Excellent" (7) is made up of the two simple forms of a-font / and 
^-font /, and is a b. The c and n in "Excellent" (7) are already marked. 

The / is the next letter. The «-font letter / "is somewhat rounded at the base and the 
last stroke is close to the stem. The cross-bar is usually slightly heavier at the left," as in 
"the places" (20). The /, font b, is well-formed, and the last stroke is light and free, as in 
"study to be" (15). This / is an a-font letter, as are those in "thankefull" (15), "the many" 
(16), "the ill fortune" (17), "to mingle" (17), "two the" (17), "things" (18), and the first t 



OF SIR FRANCIS BACON 21 

in "that" (l8). 5-font t's are found in "particular" (15), the last / in "that" (18), "enter- 
prize" (19), and "cannot" (21). 

The ornamental letter capital M is easily distinguished from the plain M in "Milke" 
(44). The M in "Majestie" (7) is a ^-font letter. 

The a in "Majestie" (7) "is somewhat heavy and is finished by a close upward stroke. 
The line bisecting the oval makes a small angle with the line of writing." It is like the a in 
"thankefull" (15), "many" (16), "we are" (ij), the second "rashnesse" (19), "cannot" (21), 
and "greater" (21). 

The i-font a's are found in "particular" (15), "favors" (16), '7/a^;/' (16), "/a/«/' (17), 
"that can" (18), "/^arf" (18), and "rashnesse" (18). 

The / is a Roman letter whose font must be inferred from the context. 

The e, s, t, i, and e are already marked, and the above analysis gives the following 
translation: 



Kt ngs 


mostE 


xcell 


entMa 


jesti 


babaa 


ababb 


baaab 


aaaba 


aaaaa 


w 


M 


S 


c 


A 



VII. 

TITLE PAGE, DEDICATORY EPISTLE, AND 

'TO THE GREAT VARIETY OF READERS" 

SECOND FOLIO, 1632 

I. CipJier Key. 

MrWIl lIAmS HakES PeAre scOME dIEsH istor leSAn dtrAG edies pUbLI 
shEda CcoRD inGto Thetr uEori gInAl LcOPi EsthE seCon diMpr esSiO 
nLOnD Onpri nTeDB ythoc oTEsf OrROb ertAL lOTaN daRet oBEsO IdatT 
HesiG neOft Hebla CkeBE arEin paULS cHUrC HyArd toTHE moSTN oblea 
NdinC OmpAR aBLEp alrEo fBret hrEnV VilLi aniEar leoFP embro ke&Cl 
OrdCh aMBeR Laine TothE KiNgs mOsTE XcelL entMa jesti eAiiDp hlllp 
eaRle ofniON tgome rY &Cg EntlE mANoF hisniA JeSTi eSbED chamb eRBot 
HKni.^ htSof themo StnOB LeoRd erOFT hEGaR TerAN Dours iNGuL arGoO 

o 

dlORD sRigh thONo urABL eHiLs TwESt uDYTo Betha nKefu LIINO urpAR 
TiCul Arfor tHema NyfAv oRswe hAVer ecEIv eDFro mVOuR LlwEa RefAL 
NeupO NthEI llfor tUnEt oMiNg LetWo tHEmO StdiV erSth inGst hATcA 
NbeFE Arean drAsH neSSE rashn eSSEi nTHEe nTerp riZea nDFEa reOft 
hESuc cesse ForwH eNwee VaLue tHePL Acesy ourHH sUStA inEwe eCanN 
oTBut kNOvvT Heird Ignit ygrea TertH anTOD eScEn DtOTh EreaD IngOF 
tHESe tRIFl eSaNd wHile weNam ethEM tilFL Esweli avede pRiVD ourse 
IVeSo fTHeD eFEnc eoFOu rDEDi Catio nBUtS IncEY oUill havEB eeNep 
leaSD tothi NkETh esEtR iFles SomeT hingH ErETo ForEa ndHAV ePrOs 
eQuut edBOt htHEM &*thEi rauTh orLIV ingwi tHSom ucHFa voUrw eHoPe 
tHAtT HeyoU TliVi nghiM AndHE NotHa ViNGt hEFaT EcoMM onwiT 

* & is Wont. 

22 



THE BI-LITERAL CIPHER 23 

HsOMe toBee xequu Torto hIsOw nEwri tiNgs YouWi UUse thesa meiNd 
ulGEN cEtow aRDth emYOu hAVEd onEun Tothe irtHe epist lEded IcaTO 
ryPar EntTh erEIS agrea TdiFf EreNc ewHET hErAN YbooK EchoO seHiS 
pATRo nEsOr finde theMt hisHA tHdon eBOth forso mucHw ereyo UrllL 
iKinG soFth EseVe raLLP artsw henTH eywer EacTe dasbe foReT hEYwE 
Repub lIsHE dtHev Olumn EasKd tObey oUrSW ehAve ButCo llECT eDthe 
MandD oNeAN offic Etoth eDeaD tOPrO Cureh IsorP hAnes guARd iANsw 
ithou tAmBi tiOne ither OfseL fEpro FitoR fameo nElYt OkeeP eTHeM 
cMorY oFSow oRThY AfRie nDAnd FeLLo wALiV EasWA Sours Hakes peAre 
ByHuM blEOF fErof hIsPL AyesT oyOur niOsTn obLeP atRon agewh EreiN 
aSwEH aveju StLYo bserV edNom aNtoc oMeNE eREYo uRlLb uTwit haKin 
dofRE LigiO UsaDd resse iThAT hBEEn TheHe igHtO Fourc AreWH oAREt 
hEPrE sENte rStOM AketH EpreS EnTvvo itHYO fYour HHbYt HepeR FecTi 
OnbuT tHere weMUs tALso craVE ouraB IlITi EstoB econs iDere dinyLO 
rdsWe Canno TgOEb eYONd OurOw nEpow ersCo uNtrE yHaNd srEac HfoRt 
HmiLk ecRea Mefru ItsoR whatT HeYHa VeaNd maNYN ation SvveHa VeheA 
RdtHA Thadn otGum MesaN dJnCE nseob tAiNe Dthel rRequ csTSw iTHal 
eAven eDCak eltwa SnoFA UlttO AppRo aChth eirGo dsByw hAtME anest 
HeYCo UlDAn dtHem OstTh oughM eaNes Toftli inGsa RemAD emOre Preci 
OusWh enThe yarED eDica TedtO tempi EsINt hAtna meThE RefOr ewEMO 
StHum bLYcO Nsecr aTeTo youRH HthEs eREniA InEso fyOUR sERvA 
iiTsHA KesPe arETH aTwha Tdell glitis INThE niMaYB eeVer YouRl ItHER 
ePuta TionH iSaNd thEta ultSO ursiF AnYBe CoMMi tTEdB YapAI Resoc 
arEFu LltOS hEwth eirGR atitu dEBot htoTh ellvi NgAnd thEDE aDasi 
SyoUr loRDS hiPsm Ostbo uNdEN JohnH emiNg ehenr yCOnd elltO thEgr 
EatvA riEty ofRea dERsb laCkf RyErs Cockp itioh NhEmi nGcHe nrYco 
NdELl. 

2. Deciphered Message. 

You who ayde me verily see for many doe observe how F. has uplifted actors M. S. 
called also by manie authour of highly priz'd writing not usual! to SEE our F. happie pen as 
I Wm. R. doe know rashly supplied. Drama long provided by F. is by th' light change lost 



24 THE BI-LITERAL CIPHER 

but you by earlie teaching perceive that th' MSS. F. plac'd in a casket had at a former time 
this mark or signale as is also known your Rex himselfe as may be implied stampt F. R. upon 
MSS. whilst sign'd by said cryptick Letters by that sure smal sign injustice mayyet bereverted. 
I say if th' world to whom this cometh is led by your guidance whither MS. can be seene. 

W. Rawley. 



T E mTe S T. 



dAHus Trimtis, Sc^na Trima. 



PLATE 24. SECOND FOLIO, 1632. HEADING, THE TEMPEST. 

THE TRAGEDIE OF 

Troylus and Crefsida, 

zAHusTrimus, SctenaTrinia. 



PLATE 24A. SECOND FOLIO, 1632. HEADING, TROILUS AND CRESSIDA. 

THE 

Merry Wives of VVindfor. 



iiABus TrimuSy Scana Trima, 



PLATE 25. SECOND FOLIO, 1632. HEADING, THE MERRY WIVES OF WINDSOR. 



The Comcdie of Errors. 



aJBm TrimuSj Scana Trima, 



PLATE 26. SECOND FOLIO, 1632. HEADING, THE COMEDY OF ERRORS. 



Much adoe about Nothing. 



^Bus Trimus^ScanaTrima, 



PLATE 27. SECOND FOLIO, 1632. HEADING, MUCH ADO ABOUT NOTHING. 



Loves Labour s loft. 



<^Bus Trimus, Sc^na Trima, 



PLATE 28. SECOND FOLIO, 1632. HEADING, LOVE'S LABOR'S LOST. 



MIDSOMMER 



Nights Drcame. 



(i4Bm Trimus. 



PLATE 29. SECOND FOLIO, 1632. HEADING, A MIDSUMMER NIGHT'S DREAM. 



The Merchant of Venice. 



(iABus Trimus, 



PLATE 30. SECOND FOLIO, 1632. HEADING, THE MERCHANT OF VENICE. 



As you like it 



fiABus Trimtis, Sc^m Trim a . 



PLATE 31. SECOND FOLIO, 1632. HEADING, AS YOU LIKE IT. 



THE 



Taming of the Shrew. 



zAQiis Trimits. Scttna Trinm, 



PLATE 33, SECOND FOLIO, 1632. HEADING, THE TAMING OF THE SH REW, 

ALLS 

Well, tha: Ends Well; 

JBhs primus. Scana Trima, 



PLATE 33. SECOND FOLIO, 1632. HEADING, ALL'S WELL THAT ENDS WELL. 



TvvelfeNightjOr what you will. 



<iABm Trimus, Sc^m Trima, 



PLATE 34. SECOND FOLIO, 1632. HEADING,. TWELFTH NIGHT. 



The Winters Tale: 



^ABusTrimus, Sc^naTrim^. 



PLATE 35. SECOND FOLIO, 1632. HEADING, THE WINTER'S TALE. 



Thclife and death of Ki ng John. 



^Atlm Trimus, Sc^na Trima, 



PLATE 3fi. SECOND FOLIO, 1632. " HEADING, KING JOHN. 



TheLife and Death of King Richard 

the Second. 



^ABm Trimus, Scana Trima. 



PLATE 37. SECOND FOLIO, 1632. HEADING, RICHARD II. 



The Firfl Part of Henry the Fourth, 

with the Life and Death of HENRY 

^ Sirnamed HOT-SPVRRE, 



^BusTrimus, ScanaTrinia. 



PLATE 3S. SECOXD FOLIO, 1632. HEADLVG, 1 HEN. IV. 

The Second Part of Henry the Fourth 

Containing his Death: and the Coronation 

of King Henry the Fift, 



d/^&us Trtmur, Sc^na Trim a. 



Indvction. j ScanaSi'Cunda. 



PLATE 39. SECOXD FOLIO, 1632. HEADIXG, 2 HEX. IV. 

The firfl: Part of King Henry the Sixu 

<*ABus Trtma, Selena Trima. 



PLATE 40. SECOND FOLIO, 1632. HEADING, 1 HEN. VI. 



Thefccond Part of King Henry the Sixu 

with the death of the Good Duke 
HVMFREY. 



zABusTftmus, Sc^naTrima, 



PLATE 41. SECOND FOLIO, 1632. HEADING, 2 HEN. VI. 

The third Part of King Henry the Sixt. 

with the death of the Duke of 
YORKE. 



^Hus Trimus. Selena Tr'tnia* 



PLATE 42. SECOND FOLIO, 1632. HEADING, 3 HEN. VI. 



The Tragedy of Richard the Third 

with the Landing of Earle Richmond, and the 

Battellat Bofworth Field. 



iiAUus Trimus, Sc^na Trim a. 



PLATE 43. SECOND FOLIO, 1632. HEADING, RICHARD III. 



The Tragedy of Coriolanns: 



(*A&usTrimm, Sc^naTrinia, 



PLATE 44. SECOND FOLIO, 1632. HEADING, CORIOLANUS. 



THE TRAGEDIE OF 

ROMEOandlVLIET. 



AUusTrimus. ScanaTrtma. 



PLATE 45. SECOND FOLIO, 1632. HEADING, ROMEO AND JULIET. 



THE LIFE OF TYMON 

OF ATHENS. 



JUusTr'mm, Sc^naTr'ima, 



PLATE 46. SECOND FOLIO, 1632. HEADING, TIMON OF ATHENS. 



\ 



THE TRAGEDJE OF 

IVLIVS C^SAR. 



<iJ&f4sTrtmt{S, Sc^mTrimA. 



PLATE 47. SECOND FOLK), 1(S32. HEADING, JULIUS C^SAR. 

THE TRAGEDY OF 

H AMLET5 Prince ofDenmarkc. 



J^HsTrimm. Selena Trima» 



PLATE 48. SECOND FOLIO, 1632. HEADING, HAMLET. 



THE TRAGEDY OF 

CYMBELINE. 



JHus Trimuh Sc^na Trhna, 



PLATE 49. SECOND FOLIO, 1632. HEADING, CYMBELINE. 



f<.^t ^ 


FpKt B 


Ft>H! A. f'o^t B 


/^^ /I 1- A firif d 


A 


A 


I ]. 


w 


C 


C 


M M 


Y Y 


D 


D 


N 




K 


E 


O O 




F 


F 


P P 





G G R R 

H H S S 

II T T 

K K V V 



PLATE 50. SECOND FOLIO, 1(132. TH REE-SP.'\CE ALPHABET. CAPrTAL LE'TTERS. 



Ft'Ht A i'OiT'd 


/C<.A+ A ffxt 8 


^>,T i F^>,1'S 


a a 


^ 


V V 


bb 


11 


u u 


c c 


111 m 


WW 


ii 


n n 


X 


e e 





yy 


f f 


pp 




§§ 


r r 


fi 


hh 


s s 


ft 


• • 

1 ] 


t t 





PLATE 51. SECOND FOLIO, 1632. THREE-SPACE ALPHABET. SMALL LETTERS. 



THE 

HISTORIEOF 

the two valiant Knights > 

Syr Qyomon Knighc of the Golden 
Sheeld , {bone to tke King of 

M Clamydes the tiph'ite f^i^UJome t9 the 
^Vg of Suauia. 

As It bath t>eae fuadty ritnes A£led by bet 
Mudbes Players. 




LONDON 

Printed by Thomas Creede. 
I 5 99- 



PLATE 52. KNR;H r OF THE GULDEN SHIELD, LS99. TITLE-PAGE. 



Tlie Prologue. 



o 






S lately lifting vp the leaues of worthy writerstvorkes, 
^ Wheretn the Noble dEls and deeds ofmmy hidden lurt^t. 
Our Author he hath found the GU\fe of glory pAmng hrighty 
jyherein their lutes are to hefeene,yfhich honour did delight^ 
TobeMLAnthomevnto thofe which dajlj do depre, 
A polios Garland by defert,in time for to afpire. 
Wherein the froward chances oft, of For tune youp^allfee, 
JVherein the chearefull countenance, of good fiicceffes bee: 
iVherein true Louers findeth ioy,with hugie heapes of care ^ 
jyherein a^ well as famous faBs,ignomiMs placed are : 
9f herein the iuj} reward of both,fst?f<mfeJ}lyfl/orpne, 
T^hat vert ue from the roote of vice, might openly be knowne. 
Anddouhting mught right Courteous alljnyour accuftomedwoom 
jind gentle eares,our Author he, if prefi to bide the brunt 
Cfbablerstongues,t9 whom hethinks, aifruflratc all his toile, 
Aspeereles tafte to filthy Swine,which in the mire doth motle. 
Welljwhat he hath done for your de light yhegaue not me in charge. 
The A^on cor»e,whoJhallexpreffe the fame to you at large. 



PLATE 53. KNIGHT OF THE GOLDEN SHIELD, 1599. PROLOGUE. 



THE HISTORIE OF 

Sir Clyomon Knight of the 

golden Sheeld/on to the Ki ng of Denmark : 
Jnd Clamydes the white i\ni^ht,J07me to 
^ the J\ing o/^Swauia. 

Enter Clamjdes, 

CLamy.K'i totlie wcaric wadring vviolifs.wliotn waltring waues enuirC^ 
No greater ioy of ioycs may bctlicn when from out che Ocean 
They may behold the Altitude of Billowes to abate, 

10 For to obferue the Longitude of Seas in former rare. 
And hauing then the latitude of Sea-roomc for to pafTc, 
Their ioy is greater through the gricfc.then erft before it was. 
So likcwife I Clamydei,Vnncc oiSwAuU Noble foy le. 
Bringing ray Barkc to Deunuiyke hereto bide the bitter broyle; 

rt" And beating blowcs of Billowes high.whilc raging ftormes did lafl. 
My griefei was grcitcr then might bc,but tempefts oucrpaft, 
Such gentle ca!ms>enfucdhath,as mikes my ioyes more 
Through terror of the former fcarc,thcn crft it was before. 
So that 1 fit in fafetic,a$ Sea-man vndcr flirowdes, , 

20 "VVben he perceiues thcftormcsbe paft , through vanquifhing of CiowtJcJ* 
For vvl.y ,«hc doubtful! care that draue me off.in daunger to prcuaile, 
Is daflif through bed' inglcfTcr braine,and keeping vnder failc : '« 
So that I haue through traucll long,at laft poHcft the place 
Whereas my Barkc in harbour faf'e, doth pleafures great cmbi;acc : 

2A And hath fuch licence limited, as heart can fcemc to aske, 
Togo andcom€;ofcuflomcfice,oraiiy other taskc 

A, 3 5 

PLATE 54. KNIGHT OF THE GOLDEN SHIELD, 1599. PAGE 1. 



The Hiflorie ojClyomm 

I meancby Mmta (lir ,tbat blaze of bcwties brcedino-, 
And for her noble gifts ofgr^ce,^!! other denies exceeding : 
Shechath from bondage fctrncfree,andfrecd,yctnill bound 

J To her, abouc all other Dames thatliuebvpontheground- 
For had not fhcbene roercifull,my fliiphadrufliton Roclc:, 
And fo decayed amids the ftormes,through force of clubbifh knocks: 
But when Ihe fa w the daunger great wherefubic<ftldid fland. 
In bringing of my filly Barke.full fraught from out my land, 

loShe likeameckcandmodeft Dame ,i\ hat diou Id Iclfe fay more? 
Didme permit with full confent.to land vpon her fliorc* 
Vpon true promile tliat 1 would.hcic taithfullflill r<m3inei 
And that performe which fhe had vov^.cdjfor thofc that iliouldcbfainc 
Her princely pcrlon topo(re(rc,whichthingtoknovv iHay, 

U And then aciucnturoufly for hcr,to paflc vpon my way. 
Loevvh<;rc^ccomes,ahpcerelc<. Dame,my /»/m».-? dare. 
Enter luliana ivtth a while Shce/d. 
Ifi/ia)!4. My Chwydes, of troth Sir Prince, to make you flay thuj hcrc; 
I proftr too much iniurie.thats doubtlelTe on my part, 

20 But let it nooccafiongiue.tobrcedc within your hait 

Miniuft th..t 1 fhou'dforgeorfaincjuithyoumy Loueinou^ht. 

Clamy. No Lady, touchingyou, in me doth lodge no fuch a thought, 
But thankes for your great curtcHc that would fofncnd'y hccrc 
In midsof miferic recciuc,a forrasne ftraunger meerc : 

ZjBut Lady fay,vvhat is your w)ll,that it I may pcrftand? 

luLi. SirPrincc3vpon3vovv,whofpowfethme,muflneedny takcinhand 
The flying Serpent for to fley,wh!ch in the Forrsfl is, 
That of flrange maruels bearf tii name,which Serpent dothnot mis 
By dayly vfe from euery coad ,that is ady acent tliere, 

30 To fetch a Virgin maide or wjfe,orclfc fome Lady fairc. 
To feed his hungric panch wit hail.if cafe he can them take, 
His nature loe it onely is,of women fpoyle toinake : 
Which thing no doubt ,did daunt me much^and made me vow indccdj 
Who ibould efpoufe me for his wifcjfhould bring to me liis head: 

35 Whereto my father willingly ^did giue his liketonfenf, 
loSit CLimydes ,n':i\N you know v^hit is my wJiole intent: 
•^nd sf you will as I haue laid,for me this trauell take. 
That 1 am yoursjwith heart and {Bind^youi full account do make. 

Ptimj, Ah 



PLATE 55. K.NIGH1' OK THE GOLDEN SHIELD, L599. PAGE 2. 



IQir^htofthegoIdcn SheeU. 

Cl/1. AhLadv.iFcafethefe trautlsfhould furmounf.tfictrauchwherety 
Vnto the wprthies of the worl(l,fuch noble brute and fame, (came 

Yea though the dangers fhau!d furpafTe (lout Hercules his toylc, 
c Whofeaiingnou^Jit die dogged fcend,fterncJ'«'r^^r«a did foyjc. 
Take here my hand.if life and limbc mc liuing Gods do lend, 
To purchafc thee, the dearcft drop of bloud my heart fhali fpcnd. 
And therefore Lady linckev\ith mc,fhy loyali heart for aye, 
For I am thi nc til fates vntwinc.of vital Itfc the flay : 
10 Protefting here if Godj affift,the Serpent for to kil. 

IhH. Then nialtthouofall women wiojthe heartand great "oodvvilj 
And mc poffellc for fpowfed wifc.who in eleftion am 
To hauc the Crownc of Denm>rrke hei c.as hcire vnto the fame. 
For vvhy.no children hath my fire bcfidcs mcc,but one other, 
Iji And he indeed fs hcuc beforc,for that he is my brother. 
^w^Qyomon fo hight his njme,bui where he doth remainej 
"Vnto my Parcntsisvnknovvne,for once hcdid obtajne 
Their good wills for to go abroad , a while to fpcnd his daies, 
\n purchafing through a£iiue deeds,both honour ,1aud and praife, 
2oWhctcby he might deferue to hauc the order of a Knight, 
But this omitting vnto thce,^/«wji/« here I plight 
My faith and troth , if what is faid by mc thou dof] pcrformc. 
CLvnj. IfnotjbefureOLady with my lifcjlncuei will rcturne. 
Jud. Then as jhoufeemcrt in thine attirc,3 Virgins Knight to be, 
2^ Take thou this S hceld likewifc oF white.and bearc thy name by roe, 
The white Knight of the Siluer Shceid, to eleuate thy praifc. 

CUmj. O Lady as your plcafure is.l fball at all alTaves 
Endeuour mygood wilho win.if A/<?r/dofendmemie;ht, 
Such honour a s your grace with ioy,(ha!l welcome home your Knighf . 
^Q Juti, Then farewell my dcareC/iw^i/r^jihc gods dircit thy way, 
And graunf that wish the Serpents hcad,behold thy face I may. 

Exiu 
CUmj. You fhall not need to doubt thereof.O faithfiill Dame fo true, 
And humbly kiffing here thy hand, I bid thy Grace aduc. 
3^" Ah happic time and blisfull day,wherciD by fate I find 

Such friendly fauours as is foode.to fcede both heart and mind: 
To StutHi'iioAcl fvviftly will prepare my foot-Ileps right. 

There 



PLATE 5G. KNKJHT OF I'HE (iOLDEN SHIELD, LS99. PAGE 3. 



The Hijlork ofQjomorij 

^^eI<cofmy father to rcccluc the order ofa Knichr: 
And a frcrwo! ds addt ede my fclfc m hope of honours CrOwnc, 
Both Tygt r fclland MonOer ficrce,bv dint for to driue downc 
,5 The Hying Serpent foone (\rA f.clc,hwv boldly I dare v.untmc, 
And if that HyJrM head fhe had,yct diead fliould neacr djunt mc 
Tf inurdcripg Mt»*u<'rf,i man rnisz,ht coutw this ougly bcjft, 
Yet for to V. m a Lady fuch, I do account it leaft 
Of traucls toy Ic to take in hand.aud therefore fare'vell care, 
10 For hope of honour fends mcfoith,mongft wathkc wighfstofliare. 

Exit. 
Enter Sir Clyomoii Kmght oftheq^olJen Sheeli, feme to the KiMg of 
Denmixke, rruh/i{!?ti// Shift thef'tceyhoted. 
Clyo. Come on good fcliow follow mejthat I may vndetfland 
I^Of wliencc thouart,f hu5 traucliing hei c m a forraine land: 
Coine wliy doft thou not lcaueloytcr!ngtlieie,andfoIlo\vaftcr tacf 
Shift. A h I am in ant fhall pieafe you. 
Clyo, In.vvhy whcrcart thou in ? 

Shift. Faith m a dirtie Ditch with a woman.fo beraide.as it's pittie to fee. 
20 ^//"-Wc!,! fee thouart atiierricc6panion,lllia!llikebctterofthy copany: 
But I pray thee come away. 

Shift, if I get out one of my leg; as faft as I may 
Ha lo, A my buttocke,the very fcundation thereof doth breake, 
HaIo,onccagaine,I am.xs faft,3Sthough Ihadfrozenhcrcawceke. 
yc Here let htmpp vnto the Stage l;/tcl^rvards,a4 though he httdpitU 

hii leg out efthe mire, one boote ojfttjnd rife vp to 
run in againe^ 
Cljo. Why hownow,\vh!thetrunlTthou,art thoufoolifhinthymlndf 
Shi. But to fetch one of my legs ant (hall plcafe,that I banc left in the 
50 mire behind. 

Cljo. One of thy legs,why lookc raan,both thy legs thou halt, 
It is but one of thy bootes thou hafl: loft,thy labour thou dooft waft. 

Shift, But one of my bcotesjefuj had fuch a wrench with the fell* 
That I aflTurc,! did rhmke one of my legs had gone withal!. 
55 Cljo. "Well let that palFejand tell mc what thouart, and wJiat is thy namri 
And from whence thou cam'ft^and whither thy iourncy thou docft frame, 
Thatlhauemctthcc by the wayjthuitrauellingin this fort? 

Shift. What 



PLATE 57. KNIGHT OF THE GOLDEN SHIELD, 1590. PAGE 4. 



Tl)e Hijlork ofQyomon 
ri'.oug!i greatly (o my fhamc, I muR my words rcuoke againc : 
[ 3m no other then the knight, whomcihcyi'<W6v/'(J7 call, 
[Tins is CUrKydfs,thc fcarc of whom, my dantcd mind doth pall. 
5 i /«/m«. Is this CUmydes .? ah worthy Knight, then do Forgiuc thy decrf, 
And welcome eke ten thoufand times vnto thy Lady hcerc. 

CUmy. Ah my luliana bright,whats part /do forgiuc, 
For well I fett hou conf^ant art, and whilrt that I do hue. 
For this, tiiy firmed faith in thee for euer ile repofe. 
1 hilian. O father now I do deny that wretch, and do amongft my fees 
Recoant him fpr this treafon wrouoht. 

Kwg. \yell Knowledge, t.ike him vnto tliec, and for the fmall regard 
Th.c which he had to valiant Knights,thi5 (halbc his reward, 
S;th he by charmcs,hiscrucltie in cowardly manner wrought, 
JJOn Knights, who as CUmydes did, the crowne of honour fought, 
And trayterouily did them betray , in prifon for to kecpe, 
The fruits offucli like cruekic.himfelfe by vs fliall rcapc : 
By due cefcrt therefore 1 charge to prifon him conuay, 
There for to lye perpetually vnto his dying day. 
20 Bryan. Oh King be mcrcifull, and fliew fome fauour in this cafe : 
King. Nay, neucrthinkethat at my hands thou flialt findeany oiacc. 
CUmydes, ah moft we'come thou, our daughter to cnioy. 
The heauens be praifd that this hath wrought, to foile all future noy. 
CUmydes. I thanke your Grace, that you thus fo well eftccme of me. 
2J I.nter Knowledge. What is all things dninicd , and cucry man cafcd ? 
Is thepageant packed vp,and all parties pleafed? 
Matli each Lord his Lady, and each Lady her loue ? 
Clyomon. Why Knowledge, what mcanft thou thofe motions to mocc ? 
Knowledge. You were bcft ftay a while, and then j ou fhallknow, 
30 Fof the Qucene iiet fclfe comes, the motion to fhow. 
You fen- mc ifyou rcmcmber,to fccke out your page. 
But /cannot find him, I vvent whitling & calling through the court in fucli 
At the lad very fcaccly in at a chamber I did pr)-, (a ra<'e : 

Where thcQuecnc with other Lady cs very bufy Ididfpy: ° 

^ Decking vp a ftrange Lady very gallant and gay. 
To bring her here in prefencc,as in court 1 heard fay. 
Clyomon. A ilrange Lady A'wsjr/f^/^f. of whence i. flic canfl thou tell rac \ 
Kmwledge. JNoi 1 ant fhall pleafe }cu, but anon you fhall fee. 

For 



PLATE 58. KNIGHT OF THE GOLDEN SHIELD, 1599. PAGE 60. 



For lo wliere the Lady with your mother doth come : 

C/yomon. Then flraightway tny duty to her grace fhalbc done* 
The miglity God< prefctue your flare, O Qtjcenc,and mother dearc, 
J" Hoping your blefllnglhauc had, though abl'cnt many a yeare. felad. 

Enter J!hieene. My Clyomon,t\\y fight n)y fon doth make thy aged mothci 
\\'hofc abfcncc long and many a ycarc, hath made thy pcnfiue parents fad. 
And more to let (hcc know my fonnc,thatI do louc and tender thcc, 
I haue here for thy welcome home,a prcfcnt which ile giuc to thee. 
10 This Lady though fhc be vnkno wnc, refufc her not, for fure her Oatc 
Dcferues a Princes fonnc to wed and therefore fske lier for thy mate. 

Cljonion. O noble Quecne and mother dccrc, / thaiike you for your great 

EutI 3mothcrvvifcbcUowc!,andfure ] mufl my oath fulfill. Cgoodwil!, 

And fo / mind if gods to fore on Tuch decree I meane to paafe, 

j5 For fure I muft offeree deny, my noble father knowes the caufe. fwent, 

King. Indeed my Quecne this much he told, he lou'd a Lady fincc he 

\V ho hai h his hart and cuer Hial 1, and none but her to loue hc'is bent. 

Clyomon. So did I fay,and fo I wil,no bcawtJes blazcnoglifleringvvight. 
Can caufe me to forget her loue, to whom my faith 1 fiift did plight. 
2Q Neroi:es. Why arc you fo fl raight lac't fir Knight, to cafl a Lady of! fo coy! 
Turne otKre againe and looke on mc,peih3ps my fight may bring you ioy. 
Clyo. Bring ioy to mc?alas which way ?no Ladies looks camjkcmcglac'- 
Nero. Then were my rccopcnce but fmall,(o quit my painc for you I hard. 
Wheicforefir knight do wcy my words/ctnot fo light the loue / fhovv, 
2^But whcnyou hauebethfOughtyourfelfcjycuwil rccantandturnc/know. 
Queene. My C/jomon rcfufe her not, fhc is and mufl thy Lad\ be : 
C^yo. Ifotherwifc my mintl be bcnr, /trufl your grace will pardon me. 
iiV(?r<7. Wc! then I fee tis time to fpcakc.fir knight letmc one cjucfliocrauc, 
Sajonpurmh-J. Where is that Lady now becomc.to whom your plighted 
30 faith you gnue ? 

Clyo. Nay if! could abfolue that doubt, tlKn were my mind at cafe : 
iVifri7.Wcreyou not broughtto health by her.wheyou came fick once of 
Cly. Yea fuic I mufl cofefie a ti uth,(hed:d riflorc my health to mc, (§ fcas? 
For which good deed 1 reft her ownc, in hope one day her face to fee. 
x^ Nero. But did you notpiomifchcr to returne.to fee her st 3 ccrtainedavj 
And ere you carac thattoperformCjiheiVorB'^?;' Kin2;floIc her away J 
And fo your Lady there you lofi : 

Cljomon. Allthis/graunt.buttohiscofl. 
For dealing her sgainA bet wjll,this hand of mine bereft his lifci 

PLATE 59. KNIGHT OF THE GOLDEN SHIELD, 15'J9. PAGE 6L 



.^^j.,i^yj,,t>jj ii^umon 
-A7<r.Now furc fir knight you fcrud liim u cl, to teach him know an other mSs 
Buryct once more fir Knight replie.thc ti utii I craue to vnJcrftand, (wile: 
Til Forreft once, who L!;auc you drink, whereas you (looci uith fivord in h'ld, 
j: rejfin'::;iea'l foni;hadyou purfudctorilsyingofyourcnemief 

^//.That did a Hliic iTicpheards hoy, vvliich tlicre I tookc my Page to be. 
Nero. And what is ot tliat Page becomc,reniajns he w ich you,yca or tioi' 
Clyo. I fent him hither ere I came , bccaufc the King and Qiiccne Hvjuld 
That I inhcalth returned was,but fince I ncuer faw him. (know, 

10 iV>.Andfufehc ftan Unot far from Iiencc,tl\ouoh now you do not know 
Oyo, Not far from hcnce,where mi^Iii he be? (him. 

Nero. Ol troth Sir Knighr,my felfc am he: 
1 brought your mclfage to the King,3S here the Qucene can tefhfic: 
/gaue you dnnke in Forrefl fure, when you with drought vver<; like to die. 
15 /foundyou once vpon the fliore full fickcjuhen as you came fioin fca?, 
/brought you home to fathers Court,! fought al means your niind to plcjs> 
And /it was that ail this while liaue vvaighicd like a Page on th.cr 
Still hoping for to fpie atime vviicrein /might difcoutr mec. 
Andfobyli3patlaU/did,T thankcyourmotheis nob'e grace: 
*-^S\\c entertaind mc coui teoully .wheal had told hrr all my c^fe. 
And now let this fuffirc my deare,! am Neronu '.vliom you fee, 
"Who many a wcarie flcp hath gonc.bef :)re and fince I met with th^c. 

Clyo.O luddcnioyesjOlieaueniy fight.O worxismoieuoiththcn oold, 
A^<?ro««,0 my deare ivclcome,myarmci I iicrc viifold, 
25T0 clafp thy comely corps withailjtvvice welcome to tliy kniglif. 
Nero, And fas ioyfull am no doubt.my ^//jwowofthy huppicfi"hr. 
Pyo, CUmydcs my allured fi iend, !o how Dame ForiHne fauourcth mcc. 
This is Neronu my AcMi. loue.vvhofe face fo long I winittofee. 
Clitmj.My ClyomonX am asglad a^youyout fclfeto fee rhisday: 
.^0 ■^''. Well dau ghtei though a ilrangcr yer, welcome to Court as /may fay. 
^u^ente. And Lady as welcome vnto m:,as if thou vverf mine onely child. 
Nero. For r his your gracious curt^fi-,/th Hike vou noble l^iinces mild. 
hi. Thogli Orange and vnacquaiatcNi yi-t.do mr.ke account you welcome 
Your nuptiall day a> well as mme,I know my father will prepare. (atej 
35 ^t"g- Yes wearepreft yournui-.tialldav with djughcer ours to fee, 
As well 3S^//ow5ff/ our fonne.wirl; this liis Lad)' faire: 
Come therefore to our Courr,that uc the fame may foone prepare. 
For wc are prell throughour out land,for a 1 1 our Pceres to lend : 
Ormcs. Thy plcjfarc mofl renowned Kiiig.f hy fetuanls llial! attend. 
40 ' i I N 1 S, 



PLATE 60. KNIGHT OF THE GOLDEN SHIELD, 1599. PAGE 62. 













\-'yy^ 



^^i^r-^ 



(7 tUx^'T:^ 









'^^o^ 









-?" 




/i 



A /v. 



-i-i-i^^-TS- 



!-«.-— 



/^ 



< / 









^2? 










/ 



/..y 



PLATE 61. KNIGHT OF THE GOLDEN SHIELD, 1599. ALPHABETS OF LARCJE TYPE. 

WITH EXAMPLES. 




■/V-i--L^ ~7^ _ 




















A- >v. 



A- i I. 



^^^^ 



-^r- 



<? Ti^-e- 



^ ; 



a:\ 









A ''-^l-*'-^^3,-i — 4. 






<^Y^ 









/ f^ZS:. 






PLATE 62. KNIGHT OF THE GOLDEN SHIELD, 1599. ALPHABETS OF SMALL TVPE. 
CAPITALS AND SMALL LETTERS. WITH EXAMPLES. 



M ^. // 

1^ yz-r^-f^y*-^ 






V ^■'' 



/- // 



^ 

/- 



/b-A-/ 



^ 



7</ 



/i. r* 



/6. vj- 






•fr y^7^€^^-^ 



_ / 



■U-i /> Si 
/ - 




y<t<«-^>^ 



/- 






// 













Ttt-tr-ie-O/t^^-K^ 



p^^W^^^Z^ 



/■ 









PLATE 63. KNIGHT OF THE GOLDEN SHIELD, 1599. DIGRAPHS. 



VIII. 

PEELE'S "THE KNIGHT OF THE 
GOLDEN SHIELD." 

1599 

I. Cipher Key. 

cLyom OndEN marke aNdXh EwhIT elcNig htson nEtOt hEkIn gOfsl 
AtelY lIFtI NgUpt heLea uesoF Worth yWRiT erswo rkeSW herEi nthen 
ObleA CtsAn dDEeD sOFma nYHiD DenLU Rksou RautH orHeh athfo uNdTh 
eGLaS sEOfG lOryS hinin gBRig htWHe rEInt hEIrL lueSa RetOb eSEeN 
Ewhic hHono uRdID deLig HttOB eALan thorN eUNtO Those wHIch daYlY 
dODeS Irega rLaND bYdes eRTin tlMef oRToA sPIre whEre iNtHe FrOWa 
rDCHa nCEsO FtofF OrtuN eYous hallS eEwHe reint Heche arEfu llcou 
nTENa nCeof gOOds ucCEs SesBe ewher Eintr ueLou Ersfl nDEth iOYwI 
thHUG iehea PesOf Carew heRei nasWE ILaSF amous FaCTs IgnoM iUSpL 
AcEda rEwhe rEInt HeiUs trEWA rDofb OthiS maniF EstLY ShoWn ethat 
VertU EfrOm tHero OteoF VicEm Ighto PenLY beKno wNeAN DdOUb tINGn 
ouGht rIGht cOUrt eOusa LlinY oURAc Custo meDwo OmaNd GenTl eEare 
sOuRa UtHOr HeisP ResTt OblDe tHeBr unTof babLE RstoN gUesT oWhom 
hEtHi nkSaS FruST rAtEa ILhis tOiLe aSpee rElES tASte tOFiL tHYsw 
inEwh iChIN tHemi reDOt hmOIL EweLl WhATh eHATH DonEF orYou 
rdEli gHThe gaUen oTmEI NcHAr gEtHE aCToR ScoMe whOSH alLex 
Press ethes ameTO YouAT lArge DenMA RkaND tHeWH iTEKn IghTS 
OnnEt otHEK iNGoF eNTer cLAmY Desla MycLA mYDEs sWAuI AdeNm 
arKET HeHIs tORiE OfcLY oMOni ulIAn aiUli aNaen teRwi ThawH IteSh 

25 



26 THE BI-LITERAL CIPHER 

eeLDI ulian AclAm YdeSc lAMyl ullac LamyD eSKNi GliTOf thego IDEns 
hEeld cLAhe RcuLE ssErb AriiSi uLide nMArK eCLyo moNcl AmyDE scLam 
Yiuli clamY maRsi uLicL amYde seXit cLAmy SuAui aTHeH iSToR ieOFc 
lYoMo nHYdR Asmin AtAUr eeXiT eNTeR Sirkn iglito Ftheg oLDeN sHeel 
dsonn eToTh eking oFWIt Hsubt iLlsh iFTth eviCe boOte DclYo shIFT 
cLYOS HifTC lyosh IfthE RelEt HiMSL iPVnT OthES taGEb acKWA RdsAs 
thOUG hheha DpuLd hIsLE gouto Fthem iReoN ebOot EofFa ndRIS eVpTo 
rUNiN Again eclYO ShicL yoShi FtcLy oKNiG hTOft hegOl densh eElds 
hlFta Ppoll ocLys HiftA LexAn deRcl yosHI fTClY oSHif tcLYO suAui 
Ashif tilii eXItc LyoTH eHIsT oRieO fcLyo MonCI yoMON dENma rKEsA 
mUeLA lexan dERde NmarK eente RrUNn ingSH ifTcI vAshi fTcla mIDes 
clyok niGHt ofThe gOlDE NsHEe LdeXI tsHif Tsubt IlLSh Iftex iTent 
erTHe riNGO FwiTh ThEhe raULD beFor eHImt hRcEL orDsk iNGcI 
amiDE sClam ydeST HeHis tORiE oFClY oMoNc laiki ngcla niYDes HerEl 
eTHiM kNEel edOWN ewlth Subti ILWAt cHInG iNpLa cEand astHe kingd 
otHgo aBOuT toLaY ThemA CeoFH isheA DleTt aKeth eBlOw EanDs 
OpASs EaWay prEse ntlYS hlftc Lyokl ngcLa mYDeS ShiFT exEun Tking 
PurSu ehlMA ndBri ngiNk nIGhT OftHE gOLDe NsHEE IdCla mydes 
cLaMy kINgC LamYd EsenT ErbrO UghTi Nbyth EtwOL ordSw hOpuR 
sUeDL ordki ngsHI fTlOk iNgsh ifTki ngshi Ftkin gclam iDESt Hehis 
tORiE OfcLY omOnc lamYS WauIA kINGc laMID eSClA mYkIn gclAM 
idEss Hiftc lAShl ftCIA mYdES cLamy kiNGc laMYD EsaLI eXeun TclaM 
ykNiG htoft HEgOl dENsh eeLds hlftc lAMys hifte xiTSh ifTcl amYdE 
sexit Enter KingT HegRe AtaSV Alian tlySE tFort haSma Ybean daSmA 
nYSoU Ldier sasca NaleX aLexa NdeRm AcEdo niAma Rspal laSbe ILOna 
aLExA NdeRa leXan derst HehiS ToRIe OfcLy Omonk EysAR AleXa ndERL 
oMAcE dONPh illpa lEXan dEral exOmn EsalE XexEu ntKNi GhTOf thegO 
IdEns heeld cNTer sIRkn iGHtO fGscI yoCly omonc lAMyd esdEN mArke 
cLyOm oNaLe XanDe rMAcE dONCl YomON DenMa rkesu Aulaa lexan 



OF SIR FRANCIS BACON 27 

DeRSe NteRa ndCLA mYClY OshiF tcLyo ShifT clAmy clyOc Lamyc lyOcl 
AmyCl yOtHe HiSTo RieoF cLyOm onshi ftcLA Mycly oSHiF TclAM YclyO 
cLAmY sHIFt cLamy sHIft cLyoc lAMyD eSAle XandE rsmac edoNi aKNiG 
liTOft hegOl deNsh eEldc LamYc lYOcL amYeX ItcLa mYSHi ftcla mYSHi 
fTcla MyiuL lanAd enMar kelul lanAS shift cLAmy ShiFt BryAn saNCE 
foYcl amYTH eHist oRiEo FclYo MoNsh ifTcl Amyex itShi fTill bRYaN 
Sance foYbr yanll bryan bRYan shIFt ieXit Enter bRYbR lanSA NcefO 
iiiMa rSIvE nUSiv enuSI ivEnu sKnIG hTOft HegOL DeNsH eELdI Ulian 
Aente rShif tbrYa nSanc efoYB ryAns hiftb RyanS hlfTB ryanb rYAns 
ancEF oYShI FtbRy anBRY anShi fTBry AntHE HiSTo riEoF cLyom Onshi 
FtbrY AnsHi FtbRY aNShI FtBry anShi FtclA mydes Swaul aiuii AnAde 
nMark sbRyA ncLam yDeSC lamyd EsSHi fTBRY anShi FtbrY anclA mYDeS 
eXeUn tshlF tsHiF Tbrya nKNiG hTOft HegOl dEnsh eeldb ryaNc lAMyD 
eSeNT eRWIt HthEh eaDVP onHis Sword cLaMY iULiA NasbR YanCl 
aMYDe Satra pOsbr yANbr yanAl exAnd eRsHe ErELe thims ItdoW nEANd 
reSth imsEl FeeNt erBrY aNShI fTbRy aNtHe HiSTo RieOf cLYoM OnShi 
ftBRY aNexi tshlf tbRYA NbRYa nSHiF TbrYA nente RtwoS eruAn Tsbry 
aNshi ftbrY anBry ancar yHIMo UtsHi fTlcNi GhTOf thegO IdEns heEld 
bRyAn eXItS Hiftb RyAnc lAniyd essHi fTexI thEre letTH eMmak eANoy 
seAsT hOuGh TheYW erEma rriNe rsAnd aFter kNIgh tofgs CoMei nwith 
OnECl yoshi ftmai enTeR boAtE swAin eClYo boaTS waine cLYob oatES 
icLYO maCed oNiAb oatES cLYoB OatES Patra nluSi eXiTc lyObo aTesw 
ainEe ntErd AughT ErtOk inGof Thest range mARsh estWO lords tWoLA 
DiESn erONi sTHell istOR iEOFc lYomo NloRd NeROn isner OlOne rOlon 
erOnE ptUne SlonE RoeXE untCl yoFOR tunef OrtuN ealex aNdER sClam 
ydEsc Lamid esCLA myDes kNiGh tofth EgOld Enshe eLdcl yoMOn clYOM 
OneNt eRtWo LoRDs twoLA diEsn erOlO neRoc lYOne rolON erOcl yonER 
ocLyO Necly oNErO tHeHI sToRi eOFcL YoMon nEROn isPat Raniu SlocL 
yONeR oAMbo ExeuN TeNTe rhAui Nghls aPPar eLLoN HisSh eeLdA Ndthe 



28 THE BI-LITERAL CIPHER 

sERpE nTsHE AdbRy clAMY deSde nMaRK eiuli anaSc laMYD eScla mYDes 
bryan lulla nAiii ilClA MydeS dENmA rkEiU LiaNa exITK night OftHe 
goldE nshee LdenT erWit hSwOr dANdT Arget shiFT bryan SancE FoYcl 
amYde SbryA ncLam ydEsi npris OntyR ocLAM ydesa lexAN dERsT HeHis 
ToRIe OfcLy oMons waUia denniA rKesh iFTcl amyDE scLam YclAm ydESS 
hiftc lAMys HifTB rYaNS AncEF OyclA MysHi ftbrY aNcla mYShi fteNT 
ErOut clAMY ShIFt claMY alexa nDeRs kNiGh tOfth egOld enshe EldaL 
ExaNd erBRY aNexi TshiF tbrYa Nsanc eFoye xEuNT enTer aFter AlitT 
Lefig HTWiT hintH reEkn iGhTs cLAmY kNIgH tClaM yaLex andER sTHeH 
iSTor iEoFc lYOmO nOniNe seXeu nTcla mvsHi ftWit HincL AmySh ifTwi 
Thaba gAsiT wERef ulLof GoLdo nhlsb aCkeb RyaNc lamYb rYAnS HifTI 
uLiAn aclAM YexiT shiFt bryan Sexit entEr neRon iSkNi GhTOf thegO 
IdEns heEld nerON islne rOnIs iiiii NeROn isilN eRoNi sNErO nISin 
erONi sHIA LexAN deRth eHiSt oRieo FcLYO Monen tercl yoNEr onisc 
lamYD EsNEr onlsn EicLy oiner oliCL YoHn Eroik niGlit OfthE gOlde 
NsheE Ldilc lyOii iinER OicLy oiHI neroc Lyoli iinEr oiicl yOIne roclY 
onEro cLYoi liiTH eHiST orieO FclYO MonnE roClY onEro clyon Eroex 
iTcly oCLyo moNFo RtuNe Clamy deSex item erkin goFTW olOrd Sthra 
NeROn isPaT rANiU sKNiG hToFt liEgol DensH eeLDN eRoNi SpATr 
anIUS lordp Atran iUsNE rOnis tHRas seLLu slORD tliRas EUlo RdexE 
unTen tErWi thAkN igHts Ignlf yiNGO neOft Hoset haTlia dDeli uERed 
ClyoM OncLA mydEs knIGH tbrya nstHe HisTo RieoF cLyoM oNcly 
oMOnk nigHT cLyOm oNkni gHTex itCLy OmoNc lyOMO ncLam YdesN 
EroNi Sclam yDEsP aTRan iuSRu moRie Nterr uNnIn GruMO RnerO NisMu 
sTant iUSal ExaNd erIRU moRkn iGhTO ftheg OldeN sHeEl diexi tClyo 
mONru moRii iilex itent eRAnd witHH Isbag ofinON eYsTI llcla Myswa 
Uiash IfTCl AmyeX itShi ftsHi Ftbry anSan CefOy eStHe HiSTo rIEoF 
clYOm Onexi tEnte rlNth efOrR estin niANsa pPare UNen eRoNI snero 
NiskN iGhtO fthEg olden sHeEl denTE rAsHe pHear dcOrH ogSne cORnE 



OF SIR FRANCIS BACON 29 

rOCon eRoCo RnERo corth eHISt oRieo FclYo MoNNy choLS hOdge SfrUM 
pTons nERoc orYnn Eroex euNte nterk ingOF NorwA YanDt Wolor DstHR 
aSiAm BoEXe uNtth RasNe roNIS iikni GhtOf thEgO IdENs heeld ilien 
tERkn igHto fthEG olden sHeEl dcLyo thRAs cLyot HraSc lYoth rAsHE 
relet theMf IgHTt Hekin gfALL doWne Deadt hrAst hrasE LlUSc LyOcl 
yOmon NerOn isCLY omONN orWay tHeHi sTORi eOFcL YoMon enter 
Fathe rThES hePHE arDan dhisd Ogcor YnnYc HoUF iLcHE rsion EiENk 
InGIl iaNgi FfrEy loneG illia NscLY omOnc orync Lyoino ncOry nclyo 
mOnKn iGhTO ftHEg oLDeN sHEEl dcOry nCOry NclYo coRYN clYoc 
OrYne xITcL Yocly oMonN orway eNtEr wIThA HeaRS ecOcl Yocly OcoRy 
nTHeH iSToR ieOFc lYoMo nCOrY NcLyo CorcL YoNer oNisc LyoMo 
neXIT EntEr Veryb RauES hiFts hifTA lExan DerMU sTant iUSal exAnd 
eRNEr onism UstaN TiusA lExan dERkN iGhTO ftheg OldeN sHEEl dcLam 
Ydesm ustAn tiUSA lexan derMu stAnt iUsex ItenT ErliK eaShe epHea rDSbo 
ynEro ForTU neNer Onist HeHIs toRiE OfcLY oMoNi nOrWa yLach isisi 
nghee rEDes CendP RoUid enCep Rouin eRoii prOUi Ascen dnEro kNiGli 
tOfth egOld EnshE EldeX IteNt eRsir cLyOn eRoNi SmuST aNTIu sHEcT 
oReXI teNte RlIKe tliEpa GenEr oNero nisii tHeHI sTori eOFcL YoMon 
iMUst anTiu SiieN tERwI tHhIS shEel DcOue reDST range Lydls GuisE 
dclyo iinER oClYo NeROc lyoii nErOi ClyOn erOic Urdac eerKN iGhTO 
ftheg Olden sheEL dclyo cURda ceeRI eXitn eROex itent ErWit liTHeH 
Eadbr yphCE buslv esPER iibry aNIii deNMa rkeIC laniyd esbRy aNSaN 
cEFoy IbrYa Nsbry aniex ittHe HisTo RieOF cLYoM oNent erllK eaWif 
fleRS hlfTi ilmus taNti UsmuS tANtI uSImu sTaNT luSIa leXAN deRen 
terki Ngthe QueEn eMust Antlu sTwOL OrdSA NdliK EacHa MpiOn 
Musta NalEX aNdEr laLEx andcl amyHe rcuLe SiaLE XaicL aniYcl aMyDE 
sSwau iANal exalC lamyd eSQue eneKN iGhto FthEg oLDeN shEeL daLeX 
imUst aNTiu sshlF TmusT aNtlU SaLEx mUSta ntius MusTa NshlF Timus 
taNsh IfTIm usTan AleXa nDera LexMu stant lusSo uNdHe reOnc 



30 THE BI-LITERAL CIPHER 

esOUn DseCo ndTIM EshiF tilOU eeNet HeHis ToriE oFcLY omOnk 
iNglM ustan TiusQ UeeNe kiNgm Ustan Tius.M usl\N iKInG qUEeN ekInG 
MusTa ntlus MusTa ntlUS pAgei mUSte nTerA stOco MbaTc lyOIM usTan 
ClYOi cLaMY iclyo KnIGh ToftH EgoLD eNsHE EldCL aMYCl Yokin 
gpAGE clAMY kiNgc lamid Suaui AsaMu ElclY osaMU elque EnNEr oNiSc 
lyoit HeHiS ToriE oFCLy oMOnQ uEEne Clyol iQUeE Necly OiquE enekl 
nGIcL AmyDe scLYO kings hlfTc lYoki nGclY odEnm arkek IngcL loMon 
clYod enmar kEscL amyde NmarK eClYo kingk XiGhT OfthE gOLdE Nshee 
LdbOt heXeu ntcLA MyDes clYom oNcLy oMoNc oeurd aCErd enmAR KecLy 
omONI ullan acurD asErc laMYd eScly oMOnc lYOmo nClam ydESe xITnE 
roNiS iNeRO nESdE NmarK EiiNe rONEs exite Xterk iNgof dEnMa rKeTh 
eQuEe nEIuL lanAT woLor dSkIN GiULi AnaiU LiaTH eHIst oRieo FclYo 
MoncL amYde scLam yDeSQ ueEne kinGL ordlU llacl amyDE sEnTe rWItH 
tHEhE aDonH isSwo rdbry AnibR yAncl amyDE sking ClaMy dESbR yanil 
uLiAc lAmyd eSlul iAnaB RyaXk ingiu llaXa luliA nCLaM yDesb rYAne 
xEuNt kingk NiGht OfthE gOldE Nshee IdOue enElo kINge nTern eROki 
ngXEr oClYo mOXkl XgnER oklag clyoM OniUL lanAq uEeXe nEroe 
XitLo Rdkin gClYo moNic LyosH ifTH clyos hItTI clYok iNGTh eHist 
OriEo FcLYo MoNcl yoMOX kinGc lyOMO nikIN gcLyo Moncl yOmon 
iikIN gcLyo monVE NusDI AnasU sanXa sABaM aRPha KinGc lyOmo 
nKnIG hTOft hegOL DeXsh Eeldc lYOcL aMYcl yoMOn iuLiA Xakin gClyo 
kiLoe xlTcl yocLA MydeS sWaui aklNG clAmy cLaMy desKI ngclA mYiUl 
iAnac lAMyd eseNT ErCLa myDes ClaMy tHEHi Stori EoFCl YomOn iuLIA 
icLam Yiibr yaNsa nCefo yHiu liClY oclam Ydesi Uliac laMyd esclA mylcl 
AmYDe slUlI cLAiu libRY cLiOC lAmyi bRYcl amYcl aMyde sBRyc laMyd 
eSKNi GhtOf theGO IdEns heEld claMY luliA ClyOc lAMyD eSSuA UiaSI 
Uliac Lamyl ikibr yanik Ingbr yking lulla kiXGC laMyi bryki Ngcla 
MydEs ClyoC lamyd EsclA MybRy clAMY deSki NgclA myDes brYic 
LamiD eSTHe HiSTo RieOF clYoM oNSaN Cefoy claMy Deslu Lianc laMyd 



OF SIR FRANCIS BACON 31 

EscLA mylul iAnAi iulia NkiNg cLamy dESbR yANki NgclA mydeS clamy 
Desie nteRK nOwle dgeCL yomon Knowl eDgek nOWle dgEIc LyoMo 
nkNOW leDge kNoWl eDGeK NiGht Ofthe gOlde nsheE Idcly oMoNe 
nteRQ UcenE clYOm oNcly omoni ikIng clyom OnnER onEsc Lyone rOilU 
EeNEc lYoMO ncLyo IneRO saYon Yourm indCL yOner oclYN erOno RwAyC 
lyomo nItHe HisTo RieOf cLYoM onneC lYnEr oClyo NeclY OnerO iiiil 
iNeRo niSc. LyonE Ronis neRoC Lyomo ncLyO Clamy dESFo Rtune nEron 
iSCla mycLy omOnk ilQuE enEnE Roliu kingc lYoMo nsOmn EsfiN is 

2. Deci phrred Message. 

I value all I sowe broadcast on our sea, looking not to time unborn for mine onely pos- 
sible reaping. Tares no hatred may sow in this, but as 'tis true my penn is prettily styled 
skilful, I limn one mighty queene, my mother, ad vivum put honor upo' th' 3'oung eiesthatto 
espy an inve'tion ever be keen, woo glory for a roiale prince. 

Th' Qu. — as though that marke th' Lord set on Cain rested on her — envoketh no man's 
ayde. I, in age, my very right, when men did woo, leant on her policie of subtilty. We dis- 
cover the coj//), zealots struck madlie at a proved upholder of might, is falne in age far sturdier. 
For as it were not easy truth, open jest, gybe, annoie, and ill to put away, those secretly sla'- 
drous opinions — a conceit oft Papiste even t' the hilt — were more dangerous. 

Condemn uxor(r)icide as man doth, envy first vowes as a wife may, Q. E's bold front I 
acompt her most princely aspect. Folly, to which you ascribe aptly Beel or wicked influe'ce, 
in a way bafFeld and held our L. Leicester and Amy. God pity a wife such as Amie. The 
law rightly defended from low persons, yet not from the machinatio's of that base lord, as we 
see. A shadowy tie bindeth and must bind. Why dallie as this crime is to be looked on 1 

Lo. Leicester knewe it could scarcely bee delay'd long. Qu. Eliz. raged, yet Amy re- 
sisted that can benumb us, fearing treachery, foolishly harming herselfe therein. Such acts 
kindling the stronger lust in them, A. slaine, E. and R. D. marry secretly. O grief! Anie 
mask cal'd life only a pity divine reads truly. I, that F., gained a legitimacy thereby with 
help o' warm hearts may yet save a realm. Go pen the work. 

A lover, too, glows with true divine passio', M. as percha'ce is scene very fullie answeri'g. 



32 THE BI-LITERAL CIPHER 

relies still upo' me; yet I am, I owne, somewhat sadly alter'd, mar'd, and in a word chang'd. 
A contract voided lies on my heart. It must truly accuse mind, and it offends my nature, yet 
it at le'gth shews me masters do ofte thinke they may sum up th' heart's day. 

Lax sponsors, both alike as weak as lax, sorted well, and the beginni'g of most perill, 
love, my sun, it seemed did looke aside to blink 't. Also in law skreening love, but little shame, 
pity wh'ch derided us, contemn'd wrong. Friends I held blind yet pry therein farre beyond 
mine inept deeds to our secret hearts. As these espy u'forct revelations bar'd, I, daring the 
low ribald's gibe, aver my M. ever did exalt to bliss blest Fr. 

Fr. Prince of Wales. 




PLATE 64, SYLVA SYLVARUM, 1627. FRONTISPIECE. 




PLATE 65, SYLVA SYLVARUM, 1627, ENGRAVED TITLE-PAGE. 



SYLVA 

YLVARVM: 

A Natiirall Hiftorie. 



IN TEM c^KX'^'Kf^^' 



WRITTEN BY THE RIGHT 
Honourable F^A^J^CIS U Verulm 



VifcounE S', A LB AN. 



Publiihed after the x'\uthor5 death, 

Sj Wi lliamRawley DoHor ofViuimie, 
late his LordiKips Qhaplainc^. 



)0 




LONDON, 

^ Printed by f . H. for fFiUiam Lee at the T«r^x 
Head in FLeet fireet, next to the Miter. 1 6^17. 



PLATE 66. SYLVA SYLVARUM, 1627. PRINTED TITLE-PAGE. 



TO THE MOST HIGH 

AND MIGHTY PRINCE 

CHARLES, 

BY THE GRACE OF GOD, 

^in^ofgreat^ritaine^ France, and 
lulofjd^ Defender of the Faith, &c. 



Maj itpkafeyour mjl Excellent Maiefiie j 

^^He whole Body of the ^tu> 
^^*\aU Htjlorie , either defigned, 
or written^ hj tht late Lo, 
Fifcomt S.Alban, was dedica- 
ted to your Maieflie, in his 
Booke Ve Venm, about foure 
I yeeres pafl, v/htnyouv MaiefiiewasTrince 2 So 
I as there needed no new Dedication of this 
I WGr{e, but only, in all humblenelTe, to let your 
Maieftie know, k is yours. It fs true, if that Lo, 
had lined, your Maiejlie, erelong, hadbeene 
inuoked, to the Protedlion of another Hijlorie ; 
Whereof, 




20 



PLATE 67. SVLVA SVLVARUM, 1627. EPISTLE DEDICATORV, FIRST PAGE. 



, J , _ , , ■ -^ 

l^he Epi/IkDedicatorj, 



Whereof, not ^^(amres E^gdopie^ as in this, 
butthefe of your Maiejlies^ (during the Time 
and %aigne o^K^ng Henry the EkhtB) had beene 
the Subiect: Which fince it died vnder the De- 
fignation meerely^there is nothing left,butyour 
z^\daiefiies Princely Goodneffe^ gracioufly to 
accept of the Vndertakers Heart, and Intenti- 
ons 5 who was willing to haue parted , for a 
while, with his Darling Tlilojofhie, that hee 
might haue attended your Royal! Commandc- 
ment;, in that other Wor!^, Thus much I haue 
beene bold, \n cJllowlinefle, to reprefent vnto 
lyour Maieftie^ as one that was truftcd with his 
\Lorci/fjip$ jVritingf^ euen to the lafl:. And as this 
\JVork affecfteth the Stamfe o£ your oS^faieJlief 
"Epjall'PrctecIion, to make it more currant to the 
lyorldy So vnder the TroteUion of this Work^^ I 
jprcfume in all huoibleneffe to approach your 
Maieftm prefence • And to offer it vp into your 
Sacred Hands ^ 



Your MJlSSTieS mojl Lojall 
and Emoted SuhieB^ 



10 



15 



W* Rawley. 



20 



PLATE 68. SYLVA SYLVARUM, 1627. EPISTLE DEDICATORY, SECOND PAGE. 




To the Reader. 



Auinghad tlie Honour to be conti- 
nually with my Lord, in compi^ 
ling of this If^orke ^ An<l to be em^ 
ployed therein^. I Iiaue thought jc 
_ not amilTe, ( with his Lorcllliips 
good Icauc aiid liking J for the better fatisfadli on 
of thofc that fhallreade it, to make knovvne fome- 
what of his Lordfhips Intentions, couching the 
Ordering, and Publifhing of the fame. I haue lo 
heard his Lordiliip often iay^- that if hee flrould 
haue ferued the glory of his owne Name, he had 
been better not to haue publiilied this JsQituraU 
Hiftory : For it may feeme an Indigefled Heap I 
of Particulars ; And cannot haue that Lu{lrcJ|c 
which BookescaftintoMethodshaue: But that 
he refolued to preferre the good of Men, and 
that which might bed fecure k, before any thing 
that might haue Relation to Himfelfe. And hee 
knew well, that ther was no other way open, to 20 
vnloofe Mens mindcs, being bound ; and (as 
it were} Maleliciate, by the Charmes of deceit 
uing Notions, and Theories^, and cherby made 

A Impo- 



PLATE 09. SVLVA SVLVARUM, 1627. TO THE READER. FIRST PAGE. 



J 



10 



\s 



'Tothe^ader, 

Impotent for Generation of VVoris.cs; Butonely 
no wher to depart from the Senfe^ and deare ex- 
perience ; But to keepe cJofe to k, efpecially in the 
beginriing: BtCxi^Qs.thxs J\(atnrall Htpry was a 
Debt of his, being Defigned and kt downc for a 
third part of the /;//?^;/r^//W. I haue al(o heard 
his Lordlhip difcourfe, that Men ("no doubt) 
willthinkemanyofthe Sxpcrimcnts comemcd in 
this Coliedion, to bee Vulgar and Trmu^l ■ 
Meanc and Sordid ; Curious and FruitlclTe : And 
therfore hewiflicth, thatthcy would haue perpe- 
tually before their Eyes, what is now in doin^- 
And thcDifterencebetweene this ^hQiturall ///! 
jloryy and others. For thofe Natural! HtUories, 
which are Extant^being gathered for Delightand 
1 Vre,are full ofpleafant Defcriptions and Pictures- 
andat^eaaiid (ti^k^ after Admiration, Rarities' 
andSecl-ets. Butcontrariwife, the Scope which 
liisLord{hip intendeth, is to write fuch a ^ttu^ 
rail Hiiforj, as maybe Fundamental! to the Ere- 
cting and Building of a true Thilojophj ; For the 
Illumination of the Vnderjflanding ■ the Extractin'> 
o^^xiomei; and the producing of many Noble 
ro^i.and EfeU^, Forhe hopeth.by thismeanes 23 
to acquitHimfelfe of that, for which hce talccth 
///wyc^Z/fin a fort bound. And that \s, the Ad- 
-uancement of all Learning and Sciences. Forha- 
nmgmthisprefent VVorkc Collected the Ma- 
^^rialls for the Building 5 And in his :J\Ca\mm 30 
j Organum(^o\: xxhich his Lordlhip is yet to^juiblilli 

a Second/ 

PLATE 70. SVLVA SVLVARUM, 1627. TO THE READER, SEC'OND PAGE. 




ALL 



HISTORIE 



I. Centuiy, 




I G G a Pin vpon the Seajlme , fomevvhat a- 
boue th<i High-Waccr Maike, and. fi'ncke k as 
decpc as the Low- Water maikc j And as the Tide 
comroeth in, it will fill vyith Water^ Fi cfii ind Po 
table. This is coniraonly pras^iized vpin the 
Coad of £ir^drj',wherc cthci A-efh Water is wan- 
ting. And C ^ s A R knew this wel], when he 
was bffieged in Alexandria : For by Digging 
o( Piits\nx\\QSea{hoare, heedid fruftiate the Laborious VVorkes of 
the Enemies, vA\\c\\ had turned the SeaW.ticr vpon tlie Wells of 
AlexandriA'^ Andfofauedhis Army, being then in Dcfperation, 3ut 
Csfar Aiiriooke the Caufe , For bethought thatall Sea-Sandefhiid Na- 
tural! Springs of Frejl Water . But it is plaine, that it is the Sea Water j 
bccaulethe Pitt fillcch according to theMeafijrc of the Tide .• And 
the Sea water pafsmg or Strayning through the Sandcs, Icaueth tlie 
Saltneifc. 

I remember to hauc Rcad^ that Triall hath becne m tdc oiSah Water 
pafTed through £4r/6 ; throughTcnn VefrdiSjOne within an other, 
and yet it hath not loft Ins Saltneflc, as to become potable •* But the 
fameM'in faith,that (by the Relation ot Another,) Salt fT^f^r drained 
through twenty Veflell's.hath become FrcOi. This Experiment fcemcth 
to crofic that other of Piitsi m^de bytheSea fde ; And yet but in part, 
ifitb true^thattwentic Reperlcions doethe^ifcd:. But it is worth the 
Note, how pQore the Imitations of Nature are, in Common courfc pf 
Expertmmts^ except they be led by great rudgcnient, and fotiie good 
Light oi[ Jxiomes', Fot ftril, thes: is no fn^all diitercr.:: bc^wccne a 

Paflagc 



Experiments 
\n.Ci» forty 
touthin^ the 
Straining and 
P.ifllngof Bo- 
dic5j one 
thioiigli ano- 
tlici : whicli 
they Call Pf*-- 
colJtion; 



z 



PLATE 71. SYLVA SYLVARUM, 1627. NATURAL HISTORY, PACJE 1. 



^h(jtturall Htjlory : 



PaflTage of fT^/^r through twenty rmallVcfTells J And through fucha 
diftancc,as betwccne the Low vvarer,and High water Markc . Second- 
ly, thcreis a great difference bctwecnc Earth and Satad . Fora!! Earth 
hath in it a kiode of Nitrous Sale, from which Sand is more free : And 
befidcs Earth doth tiot ftrainc the Water fo finely, as Sand doth . But 
thcris a Third Point, that I fufpciS as much, or more, then the other 
Two ; And that is, that in the Experimm otTrawfmifsm} of the Sea- 
water into the Pms, the Water rifcth ; But in the Exptrtment of Tranf- 
mifsion oftheP^4/^^- through the VefleilSj itfalleth : Now ccrtaine it 
is, that the Salter Part oi Water, (once Salted throughout) gocth to the 
Bottome . And thcrforeno meruailc, if the Draining oivyater by dcf- 
centj doth not make it frcfh •• Befides, I doc fomewhat doubt, that the 
veryDafliingof theW^rf^fr, that commcth from the Sea, is more pro- 
per to (hike of the Salt pait, then wher the ^^ffrflideth of her owne 
Motion. 

It fcemcth PerseUtion or Tranfmifsm, (which is commonly called 
Straiging^) IszgoodVindco^SepAratioH-^ Not onelyof Thicke from 
Thin, and Grofle from Fine, ; But of niprc fubtilc Natures ; And vari- 
eth according to the Bodie through which the Tra/jfmifsiou is made .- 
As if through a woHcn Bagg, the Liquour Icaucththe Fatncfle; It 
through Sand, the Saltncffej &c. They fpeakeof Seucring Wine from 
Water, pafsing it through Iuywood,or through other the like porous 
Body J But Ti^eii Conftat. 

The Gumm of Trees (which wee fee to be commonly fliining and 
cleare) is but a fine Paffsge or Straining of the luicc of the Tree, 
through the Wood and Bark, And in hkc manner, Cernif) Diamoids, 
and Rock Kuhies, (which arc yet more reiplendent then Cumtns) arc the 
fine Exudations of Stone. 

K^rtjldtle giucththe CanfejVainely, why the Feathers of Birdes are 
of more liucly Colours,thcn the Haires ofStaJies-^ for no Seaft hath any 
fine Azure, or Carnation, or Greene ^«j;Vf. Hefaith, Itis, bccaufc 
Birds are more in the Beamcs of the Sunn, then Beajh 5 But that is ma- 
nifeftly vntruc j ForC<«;//farcmorein the Sun then Birds , that liue 
commonly in the Woods, or in fomeCouertrf ThetrueCaufeis, that 
the Excrcmentious MoiHureof liuing Creatures, which makcth as 
well the Feathers in Birds, as the Haire in Bcafis, paffeth in Birds 
througha fioer and aiorc delicate Strainer, then it doth in 5^4/?(f/ .• For 
ff/j/^frxpafTc through Qinlls ^ And Haire through Skin. 

The Clarifying oiLiqtters by Adhefion is an Inward Percolatis?}^ And 
is effciftcd, when fomc Cleauing Body is Mixed and Agitated with the 
Liquour s ; wherby thegrofier Part of tine Liquor flicks to that Cleauing 
Body J And fo the finer Parts arc freed from the GroflTer. So the 
Apethecarief chiify their Sirrttpes by whites of Eggs, bfaten with the 
luiccs which they would clarify J wWch Whites of Eggs, gather all 
the Dreggs and grofler Parts of t J?e luyce to them j And after the Sir- 
rape being f«t on the Fire, the whites of Eggcs therafclues harden, and 

are 

PLATE 72. SVLVA SYLVARUM, 1627. N.^TURAL HISTORY, PAGE 2. 



Ccnturj : I. 

arc taken forth. So //'/>wr4//? is clarified by mixing with Milkc- And 
ftirringitaboutj And then pafsirig it through a Woilcn Bagge, which 
they cad Hippocrates Sleeue : And the Cleauing Nature ol the Mjlke 
draweth the Povvd. r of the Spices, and Groffcr parts ofthc Liqusttr to 
it J And in che p iflagethey flick vpon the Woollen Bagge. 

TiiC Clarifying of Water, is ;in Experiment tending to Health ; bc- 
fiJcsthcplcalurcof the Eye, vvhcrj WAter is Cryftalinc. It is cftc^^cd 
by cafHng in and placing Pebbles, attheHeadof a Current j thattnc 
Water may ftraine through them. 

It may be, rercoLuten doth not oncly caufc Clearencfl'c and Splen- 
dour, but Sweetncsot Sauoutj For that alfo lollovveth, as well aii 
Cle.irenes, when the finer Parts are fcuered from the GrofTer. So it is 
found, that the S.vcates of Men that hauc much ficar, and cxcrcile 
.'"uch, and hauecleanc Bodies, and fine Skins, doc Imcll ivvcxt j A^ was 
•ai J o[ K^Uxander j And vvc fee, commonly, that Gumms haue Iwccc 
Odours. 



draw 



TMciGlaJfe, and put Water inioit, and vvettyour Finger,and 
it round about the Lipp ot the Glaflx', prefsing it foa)e\"/hat hard ; 
And after you haue drawne it fomcfcvi'tniK-s about; it will niakc the 
Wat' r tiibkear;d fpriiicklcvji^ina fine Dew. lhis/z?/?4Wf doth excel- 
lently Denionflratc the Force of ComprejJio/i in a Solid Body, For 
ivhcnfoeuer a Solid Body fas Wjod, Stone, Mctrall, &c.) isprefiTed, 
rlier is an inward Furault in the parts therofj fcekingtodciiuer thcm- 
fv-iucs from the Compiefsion : And t\\h is the Caufe of all violent 
^^otion. Whcrin it is flrangc in tiichighcfl Degree, thnr thM Motion 
hath ncuer been obfcrued, nor inquired j It being of all Motions, the 
in-)ft Common, and the Chiefe Rootc of all CMechanicall Operations. 
riiis C^tttion vvorketh in round at firft, by way of Proofc, and Search, 
vliich wayto deliueritfelfc; And then worketh in Progre/Te, wher 
it fi idcththeDeliuerancecaficft. In LiquoisrsthhMoiigni^vihhle: For 
all Liquoiirs ftrucken make round Circles, andwithall Dafli ; but in 
Solids, (which breaken)t,) it is fo fubtile, as it is inuifible j But ne- 
-lerthclcfs bcwrayeth itfelfi' by many EfiPtds j As in this/«/?4;;firwher- 
of we fpeukc. For the Prejfire of the Finger furthered by the wetting 
(bccauie it fticketh fo much the better vnto the Lipp of the GUJfe,) af- 
ter fome continuance, puttcth ail the fmall Parts of the Clajfe into 
•-v(»rkcj that they flrike the Water fliarpely; from which Percufion 
x\w Sprinkling commeth. 

If you flrike or piercea Solid Body, that is brittle, as Gla^e^ or Su^ar^ 
itbreaktihnotonely wher the immediate force is ; but brcaketh all a- 
bout into fhiucrs and fitters ; The Motion, vpon the Prejfure, fearching 
all waycs j and breaking where ir findeth the Body weakeft. 

The Powder in Sfjot,hcin§, Dilated into fuch a FUme^iScndurcth not 
OOT;'r<'//(>*; Moueth likcwife in round^CThe f/affne being in the Nature 
ofa//^«/i^^//)f;) Sometimes i£Coyling;Somctimes breaking the P/Vf^j 

B But 



8 



1 



15 



EicpcriinciUS 
m Cunfort 
touJiiii:> Afi- 
tionoi Boilies 
vpcn tiicir 
Prcff'urc, 

9 



2J 



30 



35 



10 40 



I I 



4J 



PLATE 73. SYLVA SYLVARUM, 1627. NATURAL HISTORY, PAGE 3, 



JS^turali Hijlory : 



\ 



20 



EXpfrimenls 
in Cow^rr tou- 
ching SepA- 
rjftaasof Be- 
dies by tf-'ei^ht 



But generally difcharging the B»i/cit,hzca\\kthcTk fiiideth cafieft Dc- 
liuerance. 
I 2 Tills Moiio» vpon Pre(Jur€y and the Rcciprocall therof, whicliis 

ii/tf.';^»vpon Tenfure; v/c vfc to call (by cnecommon Name) U^cts- 
0^2 ef Likr tie ■^whicbiSjV/hcnany Bedy,hc\n^ foiccdto a Prtier- Nasa- 
rj// Extent, or Dimenfion5dcIiucrcEhand ic(toicthit fclfcto the Na- 
turall ; Asvvhen a Blorvm Bladder (Piefled) lifcth againejorwhcn 
LtdthcTqxClodth tentured fpring backe. Thcfe two Motions (ofwhich 

1 I ther be infinite Inflanccs, ) wc flwll hanciic in due place. 

I ^ This Motim vpon Prrjfurc is excellently alfo demonftratcd in Seitnds-^ 

As when one Chimeth vpon aM/,it foundcth; l!ut as foon as he layeth 
his hand vpon it, the Seuad cc^^cth ; And /b, the Ssund of a Virgmdll 
Stri/ig, asiboneas the QmlJ of the lack fallcth vpon it, ftoppcth. For 

IJ thcfe Sotmds arc produced, by the fubtiiePercufsion of the Minute 

parts, of tlie Bell, ox String, vpon the Aire j All one, as the Waitr is 
caufcdto Icapc Ity tlie fubtilc Pcrcuflion of the Minuteparrsofthc 
cLifft^ vpon the Water, v/herof we fpakc a Hrtle before in the p'^^. 
Experiment. I-oryou mu/t not take it to be, the locall Shaking of the 
Bell, or String, thardoth ir. As wc fliall fully declare, when we come 
hercafca to handle Sounds, 

TAkc a GUjfi with :3l Belly and a long Ne(>h'^ fill the Bellj (in part) 
^'ilhW.ner: Takeaifbanothei C/<i/<', whereinroput C/jrr; IVine 
and ^<i/fr mingled; Rcverfethcfii/t Ciajje, with the 5f//; vpwards 
Stopping the Nebb with your lingar j 1 hta dipp the Mouth of it ivit h- 
in the Second Glap, and remouc your Finger: Continue it in that 
'4 jpoRurefotatimc- And it will vnniinglc tlic Ff"inehoxx\ the neater: 
The /'T/^f afcending and fct ling inthetoppof the vpper C7/rf/<r j Aini 
the^/^4ffr defccndingandferling in thcbottomeof the low(.r*Gldfs^. 
tq The pafTagc is apparent to the Eye J Toryou fliali fee the rrtne, as it 

wcrc,in3f:nallveine, rifing through the Frater. For handfotnncflc 
fake (becsufethe Working reqiiirethfoine fmall time; it were good 
youhaog chcvppcr cUfsc vpon a Nailc. But as Joonc as ther is ga- 
thered fo much pure and vnmixcd tv.iterin the Bottomc of the Lower 

3j rr/rf/^f, as that the Mouth of the vpperc/^t/frdippcth into ir, ihcA^oii- 

*«ceafeth. 
I 5 Let the Vppcr Clap be FFifje, and the Lower crater . ther folfo- 

wcthno Motio»:it all. Lett the Vpper Cla/ebc FFaterpulc^ theLow- 

wer;^fi«rfrcoloiiredjorcontrariwirc;therfollovvethno-Wor;d/9atalI. 

40 But it hath been tried, thattho;igh the Mixture of FFine indFFitter, 

in the Lower Glafe, be three pajts FFater, and but one FFine; yet it 
doth nor dead rhe Motion, This Separatitu of FFater and FFtne apnea - 
rcthtobcinadebyWV/^^/j foritmuftbeof5fl.'/;V^ofvncquaIlfrf/^/^/, 
orellsitwoi?<erh nots AndthcHcauierfi^a[y muflcuerbcin the vpper 

45" Glaffe. Bur then note withal!, that the f'A'd/iry being made penfile and 

thet being a great FFeight of FFater in the Belly of the GUfe^ fuftained 

-=-- _- by 



PLATE 74. SYLVA SYLVARUM, 1627. NATURAL HISTORY, PAGE 4. 



LJ^T^Ct-^ 


MEJ^/uM S'CmPT 


S-MALU s-cK/Pr. 


7='<S /W T 


A . 


rOAJT -js 


Ton/T A. 


F'O/vr S 


QJ^JPJ- 


^ 


a<a/€ 


a. 


w/^ a 


Q 


6 

c- 


o 


c 


^ 

c^ 
^ 




& 




s: e 


/? 




c9 


J! 
oT-C JP 


h 


G 


J 


I 


c7 


.27 t 
k 


z 


^ 


f 


JL 


I 


^ r 


(vn- 


m 






ji'i j\^ -m 


K 


n 


/? 


n 


n 







o 


o 


D 




JP 


F 




(j) J, 


^e , 


4 






3 


:r 


2" 


T- 


r' 


r^ 




t 


f ' 


/7 t 


f s, 

<7 t 




xc 


qj U tA. 




7-' ^ 

1 






% 




y 



PLATE 75. SVLVA SVLVARUM, 1627. SCRIPT ALPHABETS. 



IX. 
SYLVA SYLVARUM, 1627 

Cipher Key. 

moNIt iMEdl Ocria fIRmA meLIo raThe right Honbl eFrAn CiSLo VeRul 
amVIS cOUnT sCtAl baNmo Rtuus aPRil isanN OdNIa NnOqa eTate TviDi 
tdeus LuceM QuODe sSEtB OnaMU NdUsi nTell eCtUa llsSy IVAsy IVArU 
MorAn atUra llHis tOrYi NtenC enTur leSwr itTEN byThe Right HoNBl 
efRan CisLo VeRul aMvis cOuNt sCtAl bANpu bLIsH EdaFt erYEA uthor 
SdeAT hbVwr AwLEy drOfd iuini Ty &cl onDon PrinT EdFor wLEeA Ndare 
tObeS OuldA taNNO TheGR EatTu RkShe AdnEx tToth eMYtr eTAuE rNeIn 
fleET stREe Tsylv asylv ArvMO raNat UralL hISto rIEiN Tence Nturl 
esWri tTeNb ythER iGHtH oNoUR aBlEf rANcI sLOvE RulaM viSco unTsT 
alban pUbH SheDa ftERT HeAUt hoRsd EatHb yWill iAMRa Wleyd ocTor 
ofdiu iniTi elATE hislo rdShI pscha pLain EloNd onPRI ntedB YjhFO 
RwiLl iAmIe eAtTh eTuRk sHead inFlE etStr EetNE xtTot Hemit ErtOt 
hEMoS Thigh aNdmi ghTYp riNCE ChaRl EsbyT hEGrA cEoFG odKin 
GofgR eAtbr iTAin efRAn CeaND iReLa nddef Ender oFtHe FalTh &*cmAY 
iTPle aseYo uRMoS tExCE ILeNT mAIeS tIEna tuRaL Ihist OriEL oViSc 
OunTs AlbaN MaiES tiede Venti sMaie sTIeP RinCE WorkE Males tIeLO 
MaieS tiehl sTOrl eTHeE pIstL edEdi CatoR YnatU reSKI ngdom eMale 
sTiEs raigN EkINg Henry elGhT hmaiE sticS phllo Sophi EworK eMalE 
sTiel orDSh ipSWR ItiNg sworK esTam pemAI eStie SroyA LlpRo TecTI 

* & is i-font. 

33 



34 THE BI-LITERAL CIPHER 

Onwor IdprO tecTI OnWor keMAI eSTiE ssaCr edhan Dsyou rMAIe sties 
MosTl oyALL AnddE uOTcD SublE cTWRa Wleyt oTHeR eADeR LorDw 
orKen AtuRa IIHIS TorYt otHER eaDer nAtUR allhl StORy InSTA urAti 
onexp eRiMe ntSna TurAl IHIsT orYNA tUral IHiST orieS nAtUR AlLHi 
StoRy Philo SopHY VndeR StaNd iNGax iOMeS WoRks EfFEc tSHiM SelFe 
noVUM orGan uMtOT HeRea Derjs rAeli TesBa seNes VulGa rnESA XioMe 
sVSeE XpeRI MenTs ExpEr imEnt Afruc tifer AexPe riMEN tALuC iFERa 
eXper iMEnt soFVs EexpE rIMeN tSoFL igHtt otHER eaDer exPer imeNT 
sgLos SecAu seSIN tErpr EtinG nATuR efRaM ingax iomeS cAUsE SnAtU 
ReeXp erIEN CecAU SescA UseSe xPErl encEC auSes aXIom eSMeT HodMe 
thOdd eaUgM EntiS sCIeN TiAru niTOth ErEad eRnat UralL hiSTO RyWor 
IDwRA WIeyn AtvrA llHis toRie IcEnt uiYPI ttsea ShoRe TideW aTErB 
arBar YwaTE raLex Andii aPitt SseaS liOAre sEAwA TerAl ExaNd riACA 
EsaRS EasaN DeSfr eSHwA Terse AwaTe rtlDE seawa TersA ITwat ereAR 
tHSaL TwaTE reXpE rIMeN tPiTt sseAS iDeEX PeRIm eNTsa xIOmE SnAtu 
rAllh IstoR ywAte rexpe rImEn TtrAm smiss lonse awaTE rPiTt svvAte 
RexPe RimEn twAte Rwate rWate rwAtE RwaTe rperc oLatI oNtra nSMis 
siONs TraiN iNGsE pArAT ioNtr AnsmI SsiOn NonCO nsTatg ummTR eessT 
rAiNi nGcor nIShd iamON dSroc kRUbi esgUM mSsto neArl Stotl efEat 
hERsb IrdEs hairE SbeAS TesBe AstHA irebi rDsbe aSTsc aTtle biRds FeatH 
ErsBi rdSha Irebe AstsB iRdsb EasTe sFEaT hErSH AiREc lArif ylNgl 
iQUor spErc Olati onllq uOUrS LiqUO Rapot HecAr iessi RrUpe sSirr 
UpeCe NturY ippOc rasse Hippo cRAte sslee UcliQ UourC lArif yingw 
aTeRe xPeRI niEntw aTEiw atcRP ercoL AtiON AleXa nDeRg uMmsg lASse 
waTEr inSta Nceco MpreS SioNv iOLeN tMoTI onmot iOnmO tiOns Mecha 
nical LopER al ion sMOti onLiq iiOUrS nioTiO nsOli DsiNS taNce Press 
uRegl asScg lASsE wATer peRcu SsioN soliD boDyg LassF^ SugAr MotiO 
nPreS sUreb oDyPo wdeRS HotFl aMEcO Mpres sIOnF lameL iquiD BoDYp 
iecen AturA llHis tORYb ullet Tmoti onpre SsuRe mOtio nTEns urEMo 



OF SIR FRANCIS BACON 35 

tioNo FliBE rTiEb oDyPr eTern aTUra llBLo wNEBl Adder lEAtH ercLo 

atHmo TionS MotiO npRes SurEs ouNDS bells OunDs ounDV iRGiN AllSt 

riNGS OuNds Bells tring WateR GlaSs eEXpE rIMen tsHak IngbE LlsTr 

inGSO uNDsG LasSE bcLLy neBBB EllYw AtERg lASsE ClaRE tWiNE water 

GlASs ebEll YnEbB GlaSs eVViN eWaTe rVvIn eglaS sEVvA TerGl asSEV 

VinEV VatEr GlasS EwaTE rGLAs Segla ssemo tlOnG Lasse VviNE vVATe 

FmotI or.Gla SseVv AteRv vAter mOTio nvVIn eVVat ergla SseVv AteRV 

Vinem otion sePAr aTIoN VvAte rVvin Eweig htBOD iESwE IgliTB OdyGl 

aSsEV VaTEr Vveig HtvVA TerbE IIYGL asSeC eNtur yVVat ergLA sSenio 

ilOnv vaTEr VviNe glASS eeXpe RiMcn tliqu OtSSi mPLeB odIeS BroYn 

EsAlt wAter FreSh waTER SalTw atERG laSse fresH Vvate RtlilC KsuGr 

edPur EwatE rwAte rGLas SeboD ieSin fuslo nsbod yLiQu oUrPb isici 

ansIN Fuslo nbODI eSinf uSIon BodyV lolEt tSinf uSIon vioLe TtsFl 
oWerm EdiCI neSin fuSiO nsbur ragEb UrrAG eOrEn GefLo WeRSr uBArB 

rUBar biNfu slOnr uBArB PurGi ngmEd iCInE sCaMM oNyPH iSIcK rUBar 
BmEde nAtur AllHi sToRY cines BeNEd IcTpu rGiNG mEdEC iNEsP 

UrgaT luePh Isick pUrgi NgpuR gcRin fUsIn GiNFu siOns iNfUS iONSl 

iQuOr sOReN gEpil IsRos eMaRy ciNna MoniN FuseV vaTcr InfiiS evVAT 

eRFiR StwAT eRsEc ondTII iRDfl RstWA Terse coNdl nfusi oNsAI rcOdo 

urSin FusIO nsVva Terod oUrSV iOEeT TswOO DbiNe ssTRA wBerr lesvV 

iNeBu rNToP iuMsP IriTw iNese aninf uSIoN sInFu SiONv bBlES hEMIs 

pHere airEv vaTER aiRev vAter buBBl eaIRE CenTu ry &c. 



X. 

NEW ATLANTIS, 1627 



Cipher Key. 

nEwAt laNti sawor Kevnf iNIsh edVvr ittEN bYtHE riGht hONou rabLE 
fRanc islOR dvEru lAMVI ScoUN tstal bAnNe wAtLA ntisp eRucH iNAia 
pANsS HeWet HhlSw oNDeR SinTH edEEP ebegi nniNG fAcED EePEd 
Rylan dNewa tlANt iSHalJ eNcIt tyheb rEwgR eEkel aTIne spANi ShlaN 
dyeEn Otnon eOFyO UaNdp rOUid etObe gonef rOmTh iScOa StwIT Hinsi 
xtEen edalE SexcE PtyOu hAuef uRtHe rtlME glUeN yOUme aNEwH Ileif 
youWA ntFre sHwAt erorv IcTUa lloRH el PEP oRyou RsiCk orTHA tyOur 
Shipn EedEt hREpA irewR itEdo wnEyo uRWan tSaND yOush aLLha 
ueTha tWHiC hBElo ngEth tomeR cYcHe rUbin SwinG sCros sEOfF icern 
eWAtl AnTIs CroSs esPAN iSHTh atfor OursH Ippit WaSwe ILFoR weHad 
RathE RmeTt wiThc aLMes andCO ntRar Ywind eStHe NaNYt Empes 
tsFor ourSi ckthe yWeRe mAnYa ndiNV eRylL LcASe soTha Tifth eYwEr 
EnOTp eRmIt tEDtO LanDT HeYra NdaNg eRoft HeirL lueST haTwe 
Hadso mElit tLeSt OrEOf MerCh aNDiZ ewHIc Hifit plEas edthe MtoDe 
aLEfo riTmi GhtsU PplYO uRWan tSwIT houtb EinGc harGe abLEU NtoTh 
emoFF leers tuRki shspa nEwAT LanTi SnisH AreYE echrl sTiAn SweWE 
rECro sseif YeeWi IISWE areal LofYo uByth eMeRI tTsof thETh atYEE 
AreNo pirAt eSNoR hAuES heDbl oUdLA WfulL yNOrU nLaWf ullYW ithin 
Fourt ledAi eSpAS tyOum aYHau ElicE nseto CoMEo nLaND wEEwE RealL 
ReaDy TotAk Ethat OatHN otAry mYlor dWOul DhaUe yoUKN oWtha TitiS 

36 



NEW 

ATLANTIS 

A VVorke vnfinishcd. 



Written by the Right HonourabIe,FRANcis 
LordVerulam, Fifcomt S'i,(iAlban. 




PLATE 76. NEW ATLANTIS, 1627. TITLE-PAGE. 




NEW ATLANTIS. 

^EE fay led from TcrUy (wher wcehad con- 
rinued bytbcfjpace of one whole yeare,) 
for China and lajoau^ by the South Sea ; ta- 
king with vs Victuals for twelue Mo- 
nechs- And had goodWindes from the 
Eaftjthough foft and weake, for fine Mo- 
nechs fpace,and more. But then the VVinde 
came about, and fetlcd m the Weft for many dayes, fo as we 
could make licdeorno way, and were fometimes in pur- 
po/e to turne back . But then againe ther arofe Strong and 
Great Windcs from the South, with aPointEaft; which 
carried vs vp,(for all chat we could doejtowards the North: 
By which time our Vi6lualls failed vs, though we had made 
good fpare of them . So that finding our fclues, ia the 
Midft of the grcateft Wilderneflc of Waters in the World, 
without Vi(ftuall, wc gaueour5elucs for loft Men, and 
prepared for Death. Ycc we did life vp our Harts and 
Voices to G o D abouc , who Jl)eu>eth his ironjers in the 
Veepe ; Bcfeeching him of his Mercy, that as in the Se^in- 
nmg He difcoucrcd the Face of the Vee^e^ and brought forth 
Dry- Land j So he would now difcouer Land to vs, t hat we 
rooughc not perifii . And it came to pafte,that the next Day 
about Euening, we faw within a Kenning before vs, to- 
wards the North, as it were thick Cloudes, which did put 
vs in (bme hope of Land ^ Knowing how that part of the^ 
South Sea was vtterly vnknownc ; And might haue iflands, 
or Continents, that hithcrtoo were not come to light. 

a ? Whcre- 



5 



10 



•J 



20 



25 



PLATE 77. NEW ATLANTIS, 1627. PAGE L 



!]\(ew Atlantis. 



5 



Wherefore we bent cm Courfethuhci, \vhcr\\c favv the 
Appearance of Land,all that night ; And in the Dawnina of 
the next Day,v\e mightplainly difcerne that it was a Land ; 
1 Flatt to our fight, andfulloFBolcai,!,ej which made it fliew 
' the more Darke. And after an Home and a halfs Savhno \vc 
I entred into a good Hdnen^ being the Port of a fairc Gtty-^ 
■ Not great indeed, but well builc, and that gaiicapleafr.nt 
: view from the Sea : And we thinking cucry Minute long,till 
. vve were on Land, came cloleto the Shore, and offrcd to 
i land . But ilraighcwaycs u eiaw diners of the People, with 
i Baflons in their Hands_, (asitw^cre) forbidding vs to land- 
i Yet without any Cries or Fierceneile, but onely as warning 
! vs off, by Signes that they made . Wherevpon being not a lit- 
j tledifcomfoncd^ we U'cic aduiimg with our Iclues, what 
i wefliould Joe. During which time,iher made forth to vs 
I afinallBoate, with about eight Peribns in it • wherofOne 
■ of them had in his Hand a Tipflaffeofa yellow Cane,ti oped 
! at Loth ends with Blew, who came aboard our Shipp 
j without any flicw of Difiruft ai all . And when he (aw one 
1 of our Number, preienthimldfe lomewhat afore the rcll 
j he drew forth a httle Scroule of Parchment, (lomewiuc 
1 yellower then our Parchment, and fliining like the Leaucs 
I ofWriting Tables, but otherwile loft and flexible,) andde- 
I liucrcd it to our foremoft Man.In which Scroule were writ- 
'; ten in Ancient Hel'>r'))., and in Ancient Crceke, and in oood 
Latinc of the Schoolc,2nd in Spauif), thelc w ordes • Landyee 
j notyUone ofyou-^ Andprouuk to begone, from this Coa/I^ ^ntl^n fix- 
j teeni: daici /xcci->t you haue further time fnui')! you . Mcaue'M'hile if 
\ you want Fr^jl) Water, orViFluall^ crheljjeforyour Sick^ cr that 
yourShif)Heedethrei)c]ire, write do)V}ie your yvantf^ andyoujhall 
haue that ^whichbelongcth to Mercy . This Scroule was Siijned 
u ith a Stampe oiQherubtns ^^'"t^'^s, not fpred , but han"^inr» 
downwards -, And by them a Crojfc . 1 his beini-^ deliueied 
the O^tfr returned, and left onely a Seruant with vs tore- 
ceyueom Anfweare. Confulting hereupon amongfl our 
Selues,we were much perplexed. The Deniall ofLandina 
<S: HaRy Warning vs away,troubled vs much; On the other 
jjde 

PLATE 78. NEW ATLANTIS, 1627. PAGE 2. 



10 



15 



20 



2j 



30 



55 



— - ■ ■ 

j ,!^(V)37 Atlantis, 



J 



10 



»5 



20 



"^ho ivits the Apodk of tlhitNattOH J and hwit Toas conuerted to 
f/;(? Faith? Ic appeared in his face, that he cooke great Con- 
tencmenc in this our Queftion : Het: faid . ICte km my Heart 

to you^ by asking this Q^ue/Iion in the firjl place j For it JJjeweth 
that you FirftfeekcthcKingdome of Heaucn . jfnd I Jhall 
gladly^ and briefly, fatis fie your demaund. 

^bout twenty Yeares after the Afccnfrn of our S a v I O V R, it 
came to paffe^ that ther Tt.nfeen by the feople o/Renfu(a, (a Qt. 
I ty ^^pon the Eaflerne Coafl ofourIJland,)-^ithm Night j( the T^li^ht 
' yi'oi Cloudy^ andQalme^ ) as it might be fome mile into the Sea a 
great fiilar o flight j Not fl?arp, but in forme of a Columnc^ \r 
Cylinder, rifingfrom the Sea^ a great way ^vp towards Heauen . 
and on thetopp of it wasjeene a large Qroffc of Light ^ more bright 
and refpicndcnt then the "Body of the TilLir, Vpon which fi 
\firangea SpeHacle^ the Teople of the Cttty gathered apace togc 
ther apon the Sands, toltonder j Mdfo after put themjclues in. 
to a number offmall'Boates, togoe nearer to thtt Marueilomflght, 
^utflyhcn the "Boutes were come within (about) 60. yeards of 
the Tillar^ they found themfe lues all bound^ and could goe no fur. - 
ther. yet fo as ihey might mouc togoe about, but might not ap- 
proach nearer : So as theBoates flgodallas ina TIjcater ^ behol. 
ding this Light, as an Heauenly Signe. It fo fell out, th^t ther was 
in one of the 'Boates, one of our Wife Men^ of the Society of Salo- 
mons Hoiifc ; Tthich Houfe, or Collcdge (my good Brethren) 25 
is the Very Eye of this I\tngdome ; Who hauing a while attcntiuely 
and deuoutly lie wed j and contemplated tim Tillar^ and Croffe fell 
downe rvpon his face '^ And then ray fed himfelfe ^po?i his knees 
and lifting vp his Hands to Heauen, made his prayers in thu 
mawicr. 

LOrd God of He.^ncn and Earth ■ thou hajl 
^onchfafedofthjgraccjothofe of cur Order, 
to l^ioilp thy JFor{es of ircation, mid the Sccretts of 
I t'^m ; And to difcmie Qcu far re us appcrtaineth 
J to the Generations of Men') Between Viiune Mi.. 

PLATE 79. NEW ATLANTIS, 1627. PAGE 10. 



30 



35 



^?^rtf Atlantis. 



'5 



raclesy Worlds of ^J\(ature, ff^or^s of Art, and fm- 
poUures andfllufons of all forts, I doe here acl^ovp^ 
ledge and teUipe before this Teople, that the Thing 
which vpe noVf fee before our eyes, is thy Finger, 
and a true Miracle. And for -a^ 'much j as vpe learne 
inour'Boo/^es, that thou ncuertvorl^efl <i5Adiracles, 
but to a Ditiine and Excellent End, Q for the Lawes 
of ^JSQiture are thine omie Laives, and thou cx^ 
ceedeft them not hut vpon great caufe ) rt>ee moU 
humbly befeech thee, to projjjcr this great Signc ^ 
And togiue vs the fnterpretation and yfe of it in 
Mercy ; Which thou dseU in fome part fccretly 
fromife, by fending it vnto ys. 



10 



15 



yPT:en he had made hk Trayer^ hee prefently found the 'Boate 
he ufos in^moucable and a^nhound '^ whereof all the re(l remained 
fliUfafl . And taking that [or an ajfurance ofLeaue to approach, 
he caufed the (Boate to be foftly^ andlekh filence^ rowed towards 
f/;^ Pillar. 'But ere he came mere it ^ the Pillar andCxo^t of 
U\^t brake <Dp, and caft it felfe abroad, as it llrre^ into a F/r^g 
mammt of many Starres -^ H^hichaljo Vanijhed foone after, and 
tJyere wis nothing left to bejeen, but a fmall Arke, or Cheft of 
Cedar, dryland not T^ett at all iVith i^ater, though it /warn. And 
in the Fere -end of it, li)hich l?as towards him, grew a fmall grcene 
(Branch of 'Palme ; And ti>hentheft>ife Man had taken it, ^'^^^k< 
all reuerencCy into his Boate, it opened of it felfe, and there fi^ere 
found in it, a Booke, and a Letter ; Both Written in fine Tarch^ 
ment, and "trapped in Sindont of Linnen. Tl)e Booke conteined 
alltheCznoviicAl^ooVtsof the Old W New Teftamenc, 
according as you haue them ; (For Tbe know yt>ell tifhat the C hur- 
ches li^ith you receiue ; ) And the Apocalypfe it felfe ; y^nd ; 
fome other Bookes o/'fA^NewTeftament, ivhich '^erc not at \ 
1 that time fi^rit ten, ')Vere neucrthelejfe in the Booke. ^nd for the I 
\ Letter, if titai in thefe ^ords. \ 

1 iBartholomewj^ 

PLATE 80. NEW ATLANTIS, 1G27. PAGE 11. 



L,/M?C £ 


■ TyfE. 


SM/\uL Twrc . 


TO NT A. 


ro/vT _p. 


rcA/r A, , TOAI T JB 




J d 


A a 


J a 


^ C ' 


C 


CC ' 


^C ' 


T) d 


D^ d 


^ d 


<j) A 


c e e 


E e e 


Bee 


E ^ e 


pf f 


G s 


G g 


F f 
G g 


-^ * 


H h 


J-i h 


H h 


/ r 


I 


I i 


I ^ 


^ A 


t I 


a: ^ 


K h 


L U 


L II 


i5^// m 


M >n 


M ^ 


M m 


^C n 
c 


JY n 


K n 


j\; n 











T f 


T r 


<p p 


9 f 


jX r 

T ^ t 


f 


^^ 


8^^ 


S f s 

r t 


S fs 

T t 


r i 


X) -v ti 


Y ^ u 


7/ V » 


■-zf u 


W fff 


W n^ 


^ 


W i^ 


* 


X 


X 


X 


r , 


r y 


r y 


r 1 






K. 


\ 


& 


..... 


O- 


^ 



PLATE 81. NEW ATLANTIS, 1627. ITALIC ALPHABETS. 



THE BI-LITERAL CIPHER 37 

nOTOf Pride oRGrE atneS thath ecomM eTliNo taEoa rdYoU RshIP PbuTf 
OrtHA Tinyo urAns wEaRY oUDeC Laret liaTyo UhauE ManYS ickaM 
OngSt yOuhe wAsWa rNeDb YtHEo fOFTh etHat Hesho uldKe epEAD istan 
cewEe weReh IshuM blESE lUAnT SanDA cCoUn tedFO rGrea tHoNO 
uRANd slnGu larlni inANit YtoWa rdSUS tliAtw Hiclivv aSall ReaDY 
DoneB UthOp edwEl ItHAT thena Tureo ftlies iclcNe SofOu rmEnw Asnot 
infeC tlOuS NotAr ysBYT HenAm eoFIE susan DhiSm eritS StrAN geRSh 
oUSeH eMUsT notBE tVVIce paldf OronE LaboU rsTat Etwic epAID newaT 
lANtI SoFFi CeRhe Camet oCOnD UctUs toThe SandT liAThE ehadp Reuen 
TedTh eHoUr ebEca UsewE MighT haUet hewho LedaY BefOr eUSfO 
Rourb uSine ssEfo rifyo uWIll FolLo WinYad uICeT IleRsh aLLfl Rstgo 
EwiTh meSOM eFewo fYoUa NdSEe thepl aCEAn dHOWi Tmayb eMAdE 
cONuE NieNT forYO uANDt HEnYo umays EnDFo RyouR SiCka ndcHe 
reSTO fyouR NumBE Rwhic HYeew ilLbr ingON landt hATth iscAR eWhIc 
hhEto okEoF DesOl aTest RanGe rSWou IDReW AidHe WasBii tOUrS eraAN 
tando UrGui deSst RangE RsHou sEwha TnuMb eROfp eRSoN Swcve 
ReAnd hOwnia NysiC kvvEwe reina llsic Kandw hoLeo NeanD FiFty Perso 
nSwhe ReoFo uRsic kwERe SeueN tEene nEwAT LaNTi SyeeA reTok nOxvTh 
atThE cuSto meoFt helan dREqu iREth tHAtA FteRt hiSda yandc OomoR 
RoWwh iChwe GiueY ouFor rEmOu iNgof yoUrp eople fROmy ourSH 
IpyOu arETO KeePe WitHI nDOre SfoRt HREeD aleSB utLet titNo ttRou 
Bleyo UnoRd oeNot TbinK YouRS eLUeS ReStr AineD bUTiA thErL eftTO 
yoUrr EstAN dEAsE YouSH AllWa NtnoT binga iiDtHE rEARe sIxEo foUrp 
eOpLe aPpoi ntEdT oaTte NdYOu fORaN YbuSI nEsYO umayh AuEAb 
rOadS uREly iSMaN IfEst ediNT blsla ndwHA TtWIc epAid ColLe giaTE 
euRop enEwA TlANt iSmYD eaRef RendS lEtUs KnOWo uRsEl UeSAn 
dHoWI tSTaN DetHW itbUS weare mEiiCa sTonl aNdaS waSou tofTh Evvben 
V/ewER eaSbu rIeDi NtbeD EepEA NdnoW wEARe onLan dweEa RebUt 
betWe eNdEa thAnd lifef Orvvea reBey Ondbo tbthe oLDwo rldAN dtHEn 



38 THE BI-LITERAL CIPHER 

Ewand whEth ereue RweEs haLls Eeone lYKNo Wethi tISaK iNDeO 
fmIrA cLEhA tHbRo ugliTV shiTh eRand iTMUs tbEEL itTle Lesse tHaTS 
hALlB RingU SheNc etHER efore iNREg aRDOf oUrde lIuEr AnCEp aSTaN 
DouRD anGer Prese nraNd tOCoM eLeTU sLoOK eUpto aNDeu erYMa 
iiREfO rMEHi sOWNe wAYeS BesiD eSwea RecOm eHere aMOiiG StaFu 
llOFP letYa NdhUm anity LetvS nOtbR iNgTH atcon FuSIo nofFa CeUpo 
noUrs ElUEs aSToS HewOU rViCE SoiUN Worth iNeSS EbeFO Rethe mYett 
liERei smORe FortH eYHAu eByco Mmand eMent ThoUg HinFo Rmeof 
CouRT eslec lOIst eREdV SwiTh inThe sEWaL IsFoR three Dayes WhoKn 
oWEtH WhEth eRitb EnoTt otaKe SoniET Astof oUrma nNErS AndcO nDiti 
OnsAn DiFTh eyFIn dEThE niBAdT obaNI sHvSS trAig htway eSIfg ooDto 
GiueV SfUrt hErti MefOr thESE nienih aTtHe yHaUe giueN UsFOr AtTen 
daNCE mayWi thALL HaiieA Ne)EU ponvS TheRe fOrEf orLou EanDa 
sWelo ueThe wEaLE ofcur Soule Sandb odies LetUs soBEH auEOU rSElU 
eSASw eeMay bEAtP Eacew IihAn Dmayf IndEG Racel NthEe YesOf tHIsP 
eOPlE PooLe heALI ngneW aTLaN TiSiA niByOF FiCEg OuErn eRoft hIsHo 
uSeOf sTran gersa iiDbYV Ocati OniaM aANdT heRf'O reAmc ometo Youto 
OfltR yOUniY Serui ceBOT hasst RanGe rsAnd ChieF lYass oMEth IngSI 
maYte Llyoii WhlCh Ithln Keyou WilLN OtbEv nwHX IngTo liEArE TheSt 
Ateha thGiu enyou LiceN CetOS Tayon laNdf OrThe spAce oFsIx eWeEk 
esand LetiT noTTR ouBle YoUif yOuro cCaSi oNSaS KefUR TheRt iMEfO 
rtHeL awiNT hISpO IntIS notpR EciSe aNdld oeNot DouBt butmy sElFe 
sHaLl bcaBL eToob TainE forYo uSUcH FurTH Ertim eaSma Ybeco NuenI 
EntYe esHAL lALsO UndER stANd thATT hEiSA tthis tIMer IcHAn 
dMUcH AfoRe haNDF orlth Athla yDvPR EuENe wtHes Ear ye eSfOr SoLOn 
gITIs Since aNyst rANge RarRi ueDin thiSP ArTan dTHeR Foret aKeyE 
EnocA ReThe wiLld eFRay YouAl Ithet ImeYo uSTaY nEIth ersHa 11 You 
sTayo iiEDay TheLe sSEfO rtHaT aSfor aNYme rchan dIzEy eEhAu ebrOu 
Ghtye EsHAl IBEWe LlvSe DanDh aUEyO urRET uRnee ItheR iNmEr 



OF SIR FRANCIS BACON 39 

cHAnD izEoR IngOl DaNDs iLuER fORtO vSIti SalLO nEaND ifYou liAUea 
NyoTh eRrEQ ueStt omAke HidEi tNoTf OrYEe ShaLL FindE wewIL LnoTm 
akEYO UrcOU NtenA ncEtO fALlB Ythea nswEr yEShA ILRec eiuEo neLyt 
hisim uStTe ILyou tHAtn onEOf yOumu StgOe aBOuE aFRom tHeWa LlESo 
ftheC ItTYvv iThOU TeSPe CiaLL LeaUe tHaTW eCOuL DnotT EllWh AttoS 
aYfoR vvEewa nTeDw oRdSt oexPr esseo uRTha nkeSA NdhlS noBle fReEo 
FfERs leftU snOth inGto asKEi tSeem EdtOU sTHat WehAd bEfor EvsaP 
IctuR eoFou riNfo rWEet hATwE reAwH iLeSi ncein Thela weSof DeatH 
WerEN Owbro ugHti nToAp LaCEw herEw efOUN dnoth iNGbu tcONs olaTI 
onsfo rThEc OnimaN dEMeN tlaid vponlJ sWeWo uldno TfaiL EtoOb eyitt 
houGH itVVAS iMPoS sIBLe buTou rHeAR tssho UlDBe enflA meDto TreaD 
fuRth erilpo nThlS HappY aNdHo lYGrO UnDne wATlA NtiST haTou Rtong 
UeSsh Ouldf iRStC LeaUE toTHe roOFE SofOu iMOUt HEsEr ewesb oULdf 
OrgeT Eithe RhiSR eUeRe ndpER sonoR ThISw hOLEn Ation iNOuR pRaYE 
rShew aSApr ieSta nDLoo KedFo rapri EstSR EwaRd whiCh wASoU rBrOT 
hErLY lOUeA nDThe gOoDo fOiirs ouLes aNdBO DieST HatwE EweRe 
CoMEi NtoAL aNDoF aNgEl LswHI cHdID aPPea RetoV sdaYL Yandp 
ReUEn tvSwI ThcOM FoitS WhiCh wEtho ughtn oTOfin uChLE ssEex pECte 
dThAT HewAS ComeT OviSi tUSWe Eofth islsl andOF bEnsa leMHa ueThi 
SthaT ByniEa NesOf oURsO liTAr ysitu AtiOn andof tHEla WeSOf sECre 
CywHI ChwEh Auefo rOuRT RauEl leRSa Ndour rarea DmiSS ioNof StraN 
gersw EknOw wELlM oSTpa rtOft HehAb iTabl eWoRL daNda ReouR SelUE 
sUNKn owNet Heref oRebe cAUsE HetHA Tknow ethle AstiS fITte sTToA 
SkeQu eStio nSiTI Smore rEAsO NfoRT HeenT eRTAi neMen Tofth EtimE 
tHAtY EeaSk Emeeq UeSTi onSth EntHa tiASK eyOuT hATwE Ehumb 
lyTha nKEdh ImtHa Thewo uldgi uevSl eaUes oTOdO Eandt hATwe 
eCOnC eiueD bYThE tAsTw eehAD aLReA dYTha ttHer wasNo wORdL 
YthIN gOnEa rthMO ReWor Thyto beKno WnetH EntHe stATE oFtha 
ThapP YlaNd Butab ouEal Isinc EthaT WeeWE Remet tfRom ThesE 



40 THE BI-LITERAL CIPHER 

UeiAl leNDS ofThe wORlJ andllo peDas SurED lYtlia tweSH ouLdm 
EeTeo nEDaY iNThe OffOr tHAtW eWeRE bothP ArtsW eeDes IreDo knoWi 
nREsP eCtTh atlAN dWAsS Oremo TeANd sODiU IdeDB yVAst anDUn 
kNo\\^ eSeas fROmt helAN dWher oUrWa IKeDo NearT hNEwA tLaNT 
IswKO WastH EofTh atNat lonAN dhOwi Twasc OnUEr tEdTO theye eKNit 
mVHeA rTToy ouBYa SkiNG thisq Uesti oniNT hefiR stPla CefOr iTShE 
wEtHt hatYO uAnDI SliaLL glaDl vaNDB rIeFL ySAtI Sfiey ouRde mAUND 
AboUT tWEnT yyeAR esafT erThe aSCen siOno fOUri tCAniE TopAs setha 
tTEIer wasSE EnbYT hEpEO pLeof AcitT yvpon TheEA stErn ecoaS TofOU 
Risla Ndwit hINnI gHTth eNIgh twAsc Loudy anDca Imeas iTmlG htbes 
oMEmi leiNt othes eAAgr eATpi ILArO Fllgh tnotS haRpb Utinf oRmeo 
FacOl umNEO Rrisi nCfRO mthes eAaGr eAtWA yUPtO WardS HeaUe 
nANdo nTHeT oPPof itWas seenE AlaRG eCros sEoFl IghTm OreBR iGHTa 
nDReS pLEnd eNtTH EnTHe bodyO tTHeP iLLaR vPonW hiCHS osTra 
ngeas PectA cLeth epeoP LeoFT Hecit TvgAt heRED apAce tOGet herUP 
oNthe sanDS tOwoN dERan dSOaF TeRpu TthEm seLUE sINtO AnuMB 
erOFs niaLLB oAtes ToGoe neare RtotH iSMar ueilo Usslg HtbUT Whent 
heboa tEsWe rEcOm EvvITh InaBO uTYea RdSof tHepi ILaRt HEyFo uNdch 
eMSel ueSAl LboUN DandC oulDG oeNoF uRThE Ryets oaStH eYMiG 
Htmou etoGo eaBou tbuTM ightN OtAPp roaCh neARE rsoas tHEbo 
atESs toOda llasl nAThe ateRB eHoLD InGTh islig htaSA NheAU enLys 
lonei TsofE ILout ThaTt HeRWa sinon eOFTh Eboat eSone oFOur WisEm 
enOft hesOC ietyO FwhIC HorMy GoOdb RetHr enlST Hever yEyeo fthls 
kiNgd oMEWh Ohaul ngAwh IleAT tEnti uELyA NddEU OutlY vIeWe 
DaNDc ontEM pLate dthlS pillA RanDC Rosse FeLLd oWnEU Ponhl SfacE 
anDth EniAy SedHi MseLF eUPOn HisKn eESaN dLiFT iNGvP hIsHa 
ndsTO HeauE iiMAdE HisPr ayERS iNthi SmanN eroFH EauEN aNdeA 
rtHth OuhAs tVOuC HsaFe doFTH YgRac eToth OseoF ouRTO kNOwT 
hyWoR KeSof cReAT lonAn dtHES eCReT TsoFT heMAn dtODI sCeRN 



OF SIR FRANCIS BACON 41 

eaSfa rREas appER tAInE tHtoT hEGen eRAtI OnSof meNBE tWeen dIuIN 
eMIne wATlA NtiSr aClES WorkE sOfna TureW orKSO fArta ndiMP osTur 
Esand ilLus loNSo fALlS OrtSI doEhE rEack nOWle dgeAN dTeST IflEb 
EfOre tHisp eOpLe tHaTt HetHi nGWhl ChWEn oWSeE BefOR eOurE 
yEsis tHYan datRU eandf OrasM uChAS WeLEa rnein oURbO oKeST 
hATTh ouneu eRWor kEstm iRAcL eSBut toAdI uINeA NdeXC eLLen tenDF 
oRThE LawES OfnAt uReAR ethin eOWne LaWEs anDtH oUExC eeDes 
TtheM Notbu tupon GreAt caUSE weEmo Sthum BlyBe seECH thEet oPRos 
pertH IsgRE Atslg neAnD toGiu EuSth EintE rPReT AtiOn anDVS eoFiT 
iNMeR CyWhl ChTHo uDOeS TinSO mePAR TseCR eTLyp Romis EbYSe 
nDInG ItuNT oVSvv henhe liAdMA deHis pRaYe rhEep reSEn tLyfo uNDtH 
eBOat EheWa siNMO uEAbL EandU nBOuN dWhER eaSal Lther EstRE 
mAIne dSTil IfAst AndTa kiNGT hatfo rAnAs sURaN cEOfl eaUet oappR 
OaCHh EcaUs Edthe BoaTE TobeS OftLy aNdwi tHSil enCER oWedt oWaRD 
SthEb utERE heCam EneeR eiTth EandO fTBrA kEUpa NdcaS titse IFEab 
RoADa siTwe reint Oafir MameN tOFma nYStA Rresw hIcHA ISova NishE DsoOn 
eaftE RaNDt heREW aSNoT hlNgl eFTtO BesEE Nbuta SmalL oROfd rYAnD 
Notwe tTaTa ILwit hWAte rThoU GhiTs WaMan DinTh EforE enDOF 
itwhi cHwAS toWar DsHim grEWA sMAlL gReEN ebRan chOfP aLMeA 
Ndwhe nthEw iseMA nHadt akeni TwITh aLLRe Ueren ceint ohiSb oAtEi 
TopEN Edofi tSelf eANdT hERew erEfO uNDiN Itaan dabOt hwrIT Tenin 
fINeP arCHm eNtan DwrAP peDin SiNdo nsofl InNEn tHeCo nTein eDalL 
tHeof tHEan daCCo rDing AsyOu hAuet hEmFo rWeKn oWWel IWHaT Tliewi 
tHyOu reCei ueaND theit sELfe AnDSo meOtH eROfT Hewhi cHwEr eNOtA 
Tthat tIMew riTte nwERE nEUeR tHELe ssEin TheAn dFOiT HeiTw Asint 
HeSEw orDsn EwAtL aNTIs asEru Antof tHehi gHeST anDap oSTle OfwAs 
WarnE dbyaN AnGEl ITHAT aPpea reDTo melNA Vislo NofgL oRYtH AtiSh 
oULdC OmMit tHist oTHef Louds ofThe seaTH erEfo reldo eTeST iFIeA 
Nddec lArEV ntoth aTpeo pLEwh EreSh allor dAine tHIst oCoMe tOLaN 



42 THE BI-LITERAL CIPHER 

DthaT IntHe saMEd aYiSc oMEuN Tothe MsALu aTIon aNDpE Acean 
dGoOd willf RoMth eAnDf roMth EtheR EvvasA ISoln BoTHt HesEW RitiN 
gsaSW eLLTh eAStH EwRou ghTag Reatm. 



The VVorkes of William Shake- 

fpeare,containingall his Comedies, Hijfto- 

ries,ancl Traoedies : Truly fetfbrth^aceordiiig 
to their firfl: Originall. 



The Names of the Principall Aftors 

inalltherePJayes. 



z^'^i*?) 



'^Jflium Shakejpeare. 

John Hemmin^s, 
jiitgujlin e Phillips . 
William i\em^t, 
Thomas 'Poope. 
George (Bryan. 
Henry Qondell. 
William Slye. 
T^ichard Co-^ly , 
John Lo^im. 
Samuell Crojfe. 
Alexander Ccoke. 



S^tmuel Gilhurne. 
lyobert Jmiin. 
William Ojikr. 
ISlathan Field. 
John Underwood. 
]>(ichol4s Tooley. 
William Eccleflom. 
Jofeph Taylor, 
'/(okrt 'Benfield. 
T^bertGoughe. 
*^tchard ^bin/on. 
John Shanckf. 
John T^ice, 



10 



!5 



PLATE 82. SECOND FOLIO, 1632. ACTORS' NAMES. 



A Catalogue of all the Comedies, 

Hiftories, and Tragedies contained 
inthisBooke. 




j J- ^ Verona. 

'Ihe two (jentlsmen of 

The Merry IVhes oj ffmc/Jor, 

(*S\feafure/or ^dCcaJure, 

The Comedy of Errors, 

z5\Iuch adoe about Us(othing, 



^fhe life ofl\ing Henry the 5. 

TbefirJlpartofK^UtUY the6. 
The ipart o/K^Bcmy the ^. 
The I fart o/KJietiry the 6. 
The Tragedieoj Richard Z;^^ j. 
The famous hi/lorj of Hcmy S. 



PLATE S3. SECOND FOLIO, 1B32. CATALOGUE, UPPER PART. 



Loves Labour slojl^ 
Q^M'tdfommers nights Dreame, 
The <iS\<ferchant o/Vcnkc, 
^sjiouli^it. 
The taming of the Shrey^, 
^All's mil that ends ivelL 
Tyvelfe night, or yyhatyouyyili, 
ThelVintersTak. 

Hiflories. 

The life and death ofK^ohn . 



Tragedies. 

The Tragedy o/CorioIanus» 
XitusAndrowicLis. 
Romeo ^Wluliet, 
Timon o/Athens* 
The Tragedy of l\x\ms C«far. 
The Tragedy o/'Macbeth. 
The Tragedy of Hamlet, 
The Tragedy of I\ing Lean 



The life ^ death of l^K theu The ,^oore of Venice. 
The life and death of K^U.^. Anthony and Cleopatra. 
The fecond fart ofK^ Kthe 4. The Tragedy of Cymhdme. 

THE 



PLATE 84. SECOND FOLIO, 1632. CATALOGUE, LOWER PART. 




Vpon the Lines and Life of the 

Famous Scenicke Poet^Maftcr 

V V.S HAKESPEARE. 

\Uofe hands, which you fo clapt^oenonf and wring 
Ton Bricaincs braVcJor done are Shake-fpeares dayes : 
His dayes Oi't done^tbat made the dainty Tlajes 
Which made the Globe ofHeaVn and Earth to ring. 
Dry d is that Feine, dry' d is the The(piin Springs 
Turn d all to teares^and'Phcxhus Qoudes his l^ayes ' 
That Corpe's,tha£ Coffin notif befiicke thofe "Bayes 
Which crown d him Toetfirji/hen ^oets I{ing. 
Jf Tragedies might uny Trologue have, 
[All ihofe hemade^ouldfcarce make one to this ; 
Where Farac,«(?«7 that he gone is to the GraVe, 
(Veathspubluiue Tyring-hou/e)the Nuncius is. 
For though his Line of life Toentfoone about, 
The Life yet of his Lines fhall neyer out. 



HughHoUand. 



PLATE 85. SECOND FOLIO, 1632. HUGH HOLLAND POEM. 



Vpon the Effigies of my worthy 

Friend, the Author Mafter William 

Shakeipeare,and his V Vorkes^ 

VPeHaior^tUs Lifes Shaddow is . To fee 
The truer imcige and a livelier he c 

Turtle T^eader. 'But,obJer'Ve his Comicke "Value, 
Laugh J and proceednext to aTragicke Jlraine, 
Then weepe-^So Ti>hen thou find' Jl two contraries. 
Two different paj^ions ft om thy raptfoule rije. 

Say J ( who alone effeSlfnch bonders could) . 

T^are Shake-lpeare to the life thoudojl behold. 

PLATE 86. SECOND FOLIO, 1632. "UPON THE EFFIGIES." 




An Epitaph on the admirable Dramaticke 

Poet, V V.S HAKESPEARE. 



!^; 



^^i^x^r/J^at neede my Shakelpeareyor his honour dhoncsj 

^^^ T/;£' Uhour of an Agtjn piled pones 

'■''^'^^ Ord?i!ithishalloVd'l(e}iquespmldhehid 5 

fnder aparre~y pointing Tyramid ^ 

Deare Sonne of Memory ^great Heire of Fame, 

Wh:it ncedft thoufuch dull Ti^itnejfe of thy TSJ^me f 

TIjou in our "bonder and aflonip?mcnt 

Haft huilt thyfelfe a lafling Monument : I q 

For whU'U to thfiame ofjh'^-cndcVouring Art 

Thy eafie numkrs flow^and that each part^ 

Hathfrom the leaves of thy unvalued (Booker 

71)ofe Delphicke Lines yi?ith deepe Impre/sion tooke 

Then thou our fancy ofherfelfe hercAVing^ IJ 

T)oft make us Mdrhle tvith too much conceivings 

Jndfa Sepulcher'd infuchpompe dofl He 

That i^ngiforfmh aTombc Ti?ouldfi?ip? to die, 

PLATE S7. SECOND FOLIO, 1632. "AN EPITAPH." 




To the Memory o^M JKShaJ^-Jpeare, 

E ytrndred {Shikc-fi^ea.vc)thaC thou went'p/ofoone 
From the Worlds-Stnge,to the Grayes-Tyrhig-rmns, 
We thought thee deadj^ut this thy Printed worth 

Tcls thy SpeflatorSjthat thou went'Jl but forth 

To enter with a^^ltufe, j{n AFiors Art, 

Can dye^and I'lVeyto aSl a/econdTart. 

That's hut an Exit of Mortality j 

This^a l^e-entrance to a Tlaudite. 



I. Iff, 



PLATE 88. SECOND FOLIO, 1632. 



M. POEM. 



To the memory of my beloved, 
The AVTHOR 

Mr, William Shakespeare 
And 
what he hath left us. 5 

?^^^^ O draw no (f^jrjifShakcTpcare) on thy mme^ 
^S%\ Wh. /^iw I Jhui ample to thy Booh, and Fame : 



^^^1 1^ yim I thtti ampli 

ifen^^ ^Vhilc I confeJlc thy nr /tings to heftich^ 



As ricitber M an^ nor MuTc, ci{nfraife too much. 
Tts true^-and all mens ftiffrage. But thefew^yes |q 

Wercftot the piths Imant unto thy praife : 
Forf^cliefi Ignorance en thefe m.ty light ^ 

which ^ when it [onnds at kfl^ hut eccho't right j 

PLATE 89. SECOND FOLIO, 1(332. BEN JONSON'S POEM. BEGINNING. 



On Worthy Mafler Shake- 

fpcare and his Poems. 




^ Aftnd reflet ing agesp/ift , vphife cleere 
And ec^uA^ far face ctn mtke things Appears 
Diftant a, Th&u/4fidjeares^ and reprefent 
Them in their lively colours \ufi extent. 
To out run hxfiy time, retrive thefdteSy 
Rowle hacke the heavens^ blowepe the inn gates 
Of death aad Lethe jcehere((onfuJed)lye 
\0 Great heapesofrftineus mortalttie. 
In that aeepedaskie dungeon to difcerne 
A r oj all Ghofi from churles^ By art to learae 
The Phyfiognomieofjhades, and give 
Them ftiddaine birth y vtndring hew (ft they It've. 



PLATE 90. SECOND FOLIO, 1632. L M. S. POEM. BEGINNING. 



EPILOGVE. 



bf^^ 


i 


i« 


P& 1 '^-^'f"v&=^>^ 



JT^ST^myFeare : then ^ myCwtefte \ Ufl ^ 7ny Speech. 
My Feare , isyour Vifpleajure : My Curtefie , my Vutie : 
And my fj^eech ^ to'Begge your Pardons. Jf you looke for a 
^ocdjpecchnolif J youundoeme: P of what Ihaue to fay , is j 
ofmme o^ione making : and what (indeed^ J f)ouldfay xtnll 
( J douht) proo-ve fnine owne marring. 'But to the ^urpofe 
and fo to the Fentnre. Bee it kmwne to you (as it is vety 
well) J Tiuti lately heere in the end of a dijpleajtng Tlay , to pray your 'Patience for 
it J and topromifeyou a Better : J did meane (indeede ) to pay you with thii which lO 
if(lik: an ill Venture) it come unluckily home ^ J breake :, and you ^ my gentle Cre* 
ditors lofe. Hccre Ipromijlyou J would bee, and heere I commit my Bodie toy our 
Mercies : Batemefome^and J willpayyoufome^and ( as moj} Debtors doc) promife 
you infinitely. 

If my Tongue cannot entre ate you to Acjuit me : fcill you command mee toufe ij 
myLegges^ And yet thatt<pere but light payment^ to Vance out of your debt : But 
agood^onfience^ wiUmake any poJsihlefatlsfaElion^ andjo will J. All the Gen* 
tU women heere J haye forgotten me- ifthe Gentlewomen will not , then the Gentle7nen 
doe not agree with the Gentle'^omen ^ which was neyerfeene before ^ in Juch an Af- 
fembly. 2o 

One wordmore, Ibcfeechyou : if you be not too much chid with Fat Meate , our 
humble Author T^iU continue the jlory {with Sir lohn init) and make you merry 
H»/r/;yd/reKacherinco/ France: "^here {for any thing Jkno"^) Fsldiffc /}?all 
dye ofafweat , unlejfe already he bee kill'd withyour hard Opiniom: For Old-Caftle 
dyed a martyr , and this is not the man. Mf Tongue is wearte, Tifl:>en my Legs are too^ 25 
J will bidyougood night '^ and fokjieeledowne before y§u : ^But indeed) to pray for 
theQueene. 



PLATE 91. SECOND FOLIO, 1632. EPILOGUE, 2 HENRY IV. 



The Prologue; 

IA[ Troy there lyes the Scdtne ifrom Jles of Greece 
The frinces Or^tllousfieir h'l^h blood chafd^ 
Have to the 'Port ofJthens/ait theirpippes 
S Fraught Ti'ith the minijlers andinjlrmients 
OfcruellWarre : Sixty and nine that leore 
Their Crotmets Tsegall^from th' Athenian^ ay 
^ut forth toTi^ard Thrygia, and their 'Vo'fi> is made 
To ranfacke Troy, within T^hofejlrong frmnures 
laTheraviJlrd Helen^ Menclaus Queene, 
With ^i^anton V^LUsfleepcs^ and that s the Quarrel!. 
To Tenedos they come^ 
And the deepe- drawing 'Bar kef doe there difgorge 
Tljeir Warlike fraut age : nolt) onDardan 'Plaines 
\S Thefrefhandyet uyibrmfcd Greekes doe pitch 
71?eir braye Ta'viHions. Pnzms fix-gated City^ 
Dardan WTimbria;, Hclias , Chetas, Troien^ 
And Antenonidus with mafsy Staples 
And correjponftue and fulfilling Bolts 
2.0 Stir re up the Sonnes of Troy. 

j>(ow ExpeHation tickling skittif? Il>irits^ 
On one and other fide ^ Trot an and Grecke^ 
Sets all onha:::\vd. And hither am f come, 
A prologue amid, hut not in confidence 
2j OfAfuthorspen^or Actors Voyce ■ hutfuited 
Jn like conditions^ as our Argument ,• 
To tellyou(faire Beholders) that our '?lay 
Leapes ore thel'aunt andfirfilings ofthofe hroyles, 
(Beginning in the middle : jlarting thence away , 
JO To what may be digejied in a Tlay : 
Like^ or find fault, doe dsymrpleafures are, 
7^oTi?good, «r bad J ' tis but the chance ofWarre. 



PLATE 92. SECOND FOLIO, 1632. PROLOGUE, TROILUS AND CRESSIDA. 



XL 
SECOND FOLIO, 1632 

Cipher Keys. 

I. ACTORS' NAMES. 

(T)hewor kEsOf wiLli amsHA keSpe ArecO ntain inGal IhiSC omedi Eshls 
tORiE SanDt raGED ieStr ulYSE tfOrt hACco Rding ToTHe Irfir stORI 
ginal LthEn amEsO fTHeP RinCI pALla ctoRS InalL TheSe plAYE SilLi 
AmsHA kesPE aRErl Chard BurbA dgEJO hnhem minOS AugUs tiNEP hiLli 
pswiL lIAinK eMPtT Homas PoOpe GeorG ebrYa nHeNr ycond eLlwi ILiAM 
slYEr ichar dCowl yJOlin LowiN esaniu ElLCr ossEA LexAn Derco OkeSA 
MuelG IlbUi- nErOB erTar nilnWI lliam oSTle rNatH aNfie IDJoh nvnDE 
rWood NichO LastO OleYW lllia niECCl Eston ejose PhtaY lorRO BerTb 
eNFiE LdroB ertgo UgHEr iChar dRObi NsonJ ohNSH aNCkE Johnr icEtO 

2. FIRST OF BEN JONSON'S POEM. 

tHEmE moRyo fMybe lovEd Theav ThORm rvVIl Liams hakes peaRe anDwh 
aTheh AthlE fTUSo Drawn oeNvy sHAkE sPeAR eOnth yNAme amith UsaMp 
leTot Hyboo keAnd famew hILEi cOnfe sSEth ywRIt inGsT oBEsU ChaSN 
elThe rmaNN ormus eCAnp RalSe tOoMu chTis TrueA NdalL meNsS UffRA 
gEbUt tHeSe WaYEs WeREn oTThE PatHS Imean TuntO ThyPR alsef OrsEe 
LiesT iGnor AncEO NtheS EmaYl iGhtw hicHw heNit sound satbe tsbut 

3. LAST OF BEN JONSON'S POEM AND FIRST OF I. M. S. POEM. 

AgoOd poETS madea SweLl aSBor nEAnD sUChW erttH OalOo keHow 
tHEfa TherS fAcel iVEsI NhisI SsUee vENsO TheRA cEoFs hakES pEaRe 

43 



44 THE BI-LITERAL CIPHER 

sMind eaNDm aiiNER Sbrig htLys hlNes inHiS Wellt OrneD AndTr uEFiL 

eDlin eSiNe aCHoF Which heSee MestO sHAkE alaNC eaSbr aNDIs hTaTt 

heeye SoFIg NorAn ceSWE etSwa NoFAv OnWha taSIG hTItW eREtO 

seetH eelno UrWAt eRyet aPPea reANd mAkEt hOSeF lIGht suPOn thEBA 

nKeso FthaM EsTha tsodi Dtake eLiza anDou riAme SbUTs taYis eETHe 

einth ehemi sPHer eadVA ncDAn dMAdE Aeons TeLlA tloNT HeRes hINeF 

OrtHT hOuSt ariEO fPOet sANdW IthRa Georl NflUe ncech IdEOr CheEr 

etHED roOpi ngSta GeWhl cHSiN cetHY FlIGh tFrom heNce HaThm oUrnd 

llkEn iGhTa nDdes pAIre sDAyB UtfOr thyVO luMes lIGht BeNIo NsoNo 

NwoRT HymAs terSIi akEsp earea NdliiS poEms mINdR Eflec tINgA GesPa 

stWHO seCIe EreaN DeqUA llsUr faCEC anMAK ethin GsapP EarEd IsTAn 
TaTho usand YeARe saNdr EpreS eNTtH emInT helRl iVely ColOU rSjus 

tEXte ntTOo UtruN hAsTy timer etRIv etHEF AteSr Owleb acKet hEHEa 

Yensb lOV/oP eTHel roNgA teSof deatH AndLE TheWh erEcO nfUse dLyEg 

rEaTh eAPeS oFRui noUSM orTal Itlei nthAT dEePe duSki EdunG EontO 
diSce rnear Oyall ghOst 

4. LAST OF I. M. S. POEM. 

EaRes haLLB reaTh anDSP eAKeW iTHLa 

uRELl cROwN dWHic hnEve rFAde SfeDw itHAM brOsi AnmeA TeiNA welLL 

yneDV esTur eRIch aNdNe AtESo wiThT hISrO BetHE yCLoa thhIM BidHi 

mWEaR eitfO rtlme SliaLl ncVER StaIN EnorE nVYTe Areit tHEfR iENdL 
YadMI rErof hISen doWMe NtsiM s 

5. HUGH HOLLAND POEM. 

VPOn thELi nEsAn dLife ofthe Famou SsceN IckEp oeTMA sTERV 

VshAK eSpeA reHoS ehAnd sWhIC hyouS oCLaP tgoEN oWand wring youBR 

itain eSbRa veFor DonEa ResFia keSpe Aresd AyesH iSDaY eSAre dOnet 

hatMa deThe dAiNt YpLAy esWHi cHmad EthEG lObeo fhEAv nande 



OF SIR FRANCIS BACON 45 

ArthT OriNg drydi SthAt velne clRyDI stHet HesPi anspr IngTu RndAl 

ItOTE arEsa NdpHo eBusc lOuDE shisr AyESt haTco RpeSt hAtco FfiNn 

owBes Ticke ThosE BayEs whiCH cRown dhiMP oEtFi rStth enPoe TskIN 

gIFTr aGEdl Esmlg htANY ProLO gUEha vEall tHOsE hEMad EwOul 

dscAr ceMAK eOneT othls wHErE fAMen oWTha tHego NeiST othEG 

raved eAThs puBli Quety riNgh oUSEt hEnUn ciUsi sfoRT hoUGh hisLI 

NeOfl iFEwE Ntsoo neaBO utTHe Lifey eTOfH IsLin eSSha ILnev eROut 
hUGhH oLlAn d* 

6. POEMS: "UPON THE EFFIGIES," AND "AN EPITAPH." 

VpOnt HeefF IgiEs ofMyw oRtHy FrieN DtHeau tHOR MaSTe Rwlll iaMsh 

akEsp eaREA nDHiS vVOrk eSPeC Tator thISi ifess HaDDo WistO seEtH 

etRUE rlmag EandA Livel iERhE TuRNe reade rBuTo BseRv eHIsC oMiCK 

evAin ElaUg haNDP rOCeE DneXT toATR agick EstrA IneTh EnWee pEsow 

hEnTh oUfIn DsttW ocONT raRie StWod iFfer eNTpa SsioN sfRom ThyRA 

ptSou Leris esayw hOaLo nEeFf eCTSu cHwOn dersc oulDr arEsh AkesP 

eAret OtheL IfeTh ouDOS tBeHO Id 

ane pITap HonTH Eadml rabLe 

Drama tIcke pOETv VshAk eSpeA reHat nEEDe MysHa kEspe AreFo rhISH 

onOur Dbone stHel AbouR ofANA geinp iLeDs tOnEs orTHA Thish aLlow 

drEli qUEss houLD BehiD vnDeR aStar rEYpo intIN gpyra niiDdE arEsO 

nNeof MeMoR ygrEA Their eOFfA meWha tneed sttHo usUCH dULLw 

iTnEs seoft HyNAm EthOu inOUR wonde RanDA StoNi shMEN tHAsT Built 

ThysE IFEal asrin gMoNU meNtf OrWhi IStto ThsHa nieOFS lowen Devou 

ringa rtTHy eaSIE NumBe rsFlO WanDT hAtEa ChpaR tHath frOMt hELea 

veSof tHYuN vaLuE dbOoK EthoS eDElP HicKe lINeS withD eePei mpRes 

sioNT oOket HentH ouoUr fANcY OfhER Selfe berEA vingd oSTma keuSM 

ArblE WitHT oomuC HconC Eivin gAnds OsePu LchER DinSu chPom pedOS 

tLiet HatKi Ngsfo RsuCH AtomB EwoUl dWish toDiE 

*Continued in Catalogue. 1632. See page 188. 



46 THE BI-LITERAL CIPHER 

7. I. M. POEM. 

to TheMe mORyO fMWsH aKeSp eaRee wondr eDSha kesPE ArEth 
atTho uWenT sTSos oONeF RoMth eWoRL DsstA GetOt heGRA veSty riNgR 
ooMew eThOu gHtTh eEDeA DbUtt hIsTH yprin TedvvO rThtE IsThy speCT 
ators tHAtt houWE NtsTB UtfoR thtOE ntErW IthaP PlauS eaNac torsa 
rTcAn dyEan DliVe toACT asEco Ndpar ttHat sBUtA nEXit OfmoR taLit 
ytHis aREen Tranc etOap LaUdl tEiM 

8. PROLOGUE: TROILUS AND CRESSIDA. 

tHepr oLoGu eNTrO YtheR ElyEs thEsC aenef RomH. eSOfG ReeCE Thepr 
inCes Orgil loUSt hEIrH iGHbL oODCh aPDHa vEToT hEPor toFat HenSs 
EnttH eIRSh Ippes frAug HtwiT HthEM iNiST erSan dinst RmneN tSoFC 
RuELl warRe sixty aNDNi neTHA twOre Their CrowN etsre GalLf rOmTh 
atHen ianba YputF OrtHt owaRD pHRyG iAANd TheIR Vowls mAdet 
OraNs AckEt rOYwI thINw hoSes TroNg ImmuR EstHE ravis hdHEL enmen 
ElauS QueeN EwiTH wanTO npaRI ssLee pEsAn DtHAt SthEq UarRE Lltot 
eNEdo sTHEy cOmEa ndthe DeEPe DrAwi Ngbar kEsdo etHEr edISG OrgEt 
Helrw aRlik EfrAu TagEn OwONd aRDaN Plain EsthE FreSh andye tUnBr 
uiSed GreEK eSDoe pitCH thEir Brave PaVil lions PriaM ssIXG AteDc 
ItYDa rdAna ndtim bRIAh Elias cHEtA sTrOI eNand AnteN OniDu sWith 
MasSY staPL esand CorrE spOns lueaN dFulf Illln gBOlT sstir rEupt hesON 
neSof tROyN oWExp ecTat loNti Cklin gSkit TisHs piRit Sonon eANdO 
tHErs idEtr OiAna ndGRE eKese tsaLl onHAZ aRDan dhlth EraMI coMea 
Prolo gUeAr mDbut NotIN conFI dEnce oFAut hoRsP EnorA CtoRs voyce 
ButsU Itedl nlike Condi TioNS aSour argUm enTto TeLLy ouFai RebEh 
oLdeR sTHat oURpL AyLea PesoR EthEv auNTA ndFir stllN gsOft hOSEb 
RoyLE SbeGi nNing inThe mIDdL esTaR TinGt HeNce aWAyT oWhaT 
mAybe dIGes teDIn AplaY likEO rFInD FauLt doEAS yoUrP LeasU reSaR 
eNowg OodoR BadTi sBuTT hEChA NceoF WarRe 



THE 



ACTORS 



NAMES. 



^aytcr^ V M O V R the Prcfcntoro 

^ ^^ ^'"^' ^^'"''1 ^^^ i'ourth. 

^^^^ Prince Hr^yr^i, afterwards Crowned King Hmr) the Fift. 

Prince lohn ot Lancaftcr.? 

////w/'/^r^of Glouceftcr SSonncsto Henry the rourth,and brethren to H^»ry the Fift. 

Thowoi of Clarence. J 



10 Nortliumbcrland. 

The Arch-BiiTiopofYorkc. 

Mowbray. 

Ha/lings, 

Lord Bardolfc, 
ij Travers. 

Morton. 

Colcvilc. 



^ppofitcs againfl King Uinry the 
I Fourth, 



Warwickc. 
Weftmcrland. 
20 Surrey. 
Gowre. 
Harccourt. 
Lord Chiefelufticc, 



!OfthcKin£;s 
Partic. 



Shallow. l Both Country 
25 Silence. Jluftices 

Davie,Scrvant to Shallow. 

Phang^and Snarc,2 .Serjeants 

Mouldie. 

Shadow. 
30 Wart. C.Country Soldiers 

Feeble. 

BuUcalfc. 



Drawers 

Beadles. 
Groomes 



Pointz. 
Faldaffe. 
^Bardolphc. 
Pifloll. 
Pcto. 
Page. 



Urrcgular 
Humerifts. 



Nortbumberlands Wife. 
Percies Widdow. 
HoftcfTe Quickly. 
Doll Teate-fheete. 
Epilogue. 



PLATE 93. SECOND FOLIO, 1632. ACTORS' NAMES. 2 HENRY IV, 



a. 



•S.rAop. h,M.^y..^. B^rJ.I^.. fc-7^ei/e. 

Ha.i>..f. ;j.^^-^«-. W<„«r,.. /•'h.r.-^A, 

Irrt^L^Uh. l.Fift ? „' ' /;>i-^'>^y ■ 

MOVTi, m^Croa^e-j-. Mc>^£,^'^y tit- Z^'^H^^^i"'"-^ ■ 

R.Rwow^. r. ^R^.^^^fcr. T^.IORH r.Tr^vevi-. 

V./e/-/HtfW U.C^o^.^rte^ 2'Vl/^MWW^ /iiU.^i.^rf/ . 

=■ «. 



1 . 'Tre)eni''r 
fl , Of,p'>'f" 

I - 




PLATE 94. SECOND FOLIO, 1632. ALPHABETS. E.XAMPLES OF ROMAN 
TYPE IN ACTORS' NAMES, 2 HENRY IV. 



Flonrifh^and enter the Towne. 

"Enter Katherine anddm eld GeniUvromdn. 

K^h. ttyilice, tu m efle en t^mgleterre, & iHpdrloij hien 
It LdKfnAqe, 

yi/$ce. £» pfM (^'f4/i4me. 

t:*th. It tefrie rnenfetgntr,ilfMut (jHe ]'ApprtnfU4ftirUr. 
Comment appetli v»m U mMn tn ty^nflttt} 

i/fitce. La main, tlefl appei/e\ dt HAnd^ 



The Life ofK^ng Henry the Ftft. yp 

Kath. De Hand 

jiltce. £t U dojt. 

Kat. Lt dojt , m* foj it onhUt It dojt, m^is ie me fouvitn- 
draj le dayt, tepenfe tju'ils »«/ appelli de fingers, ott de finvres. 

Jlitce. Lit main, de Htindje dtjt, le ftfigfe/, lepemj* qut 
iefun le bin efcholier. 

Kath. r^j gd'gKc deux nuts £ A'gltu viJlementtCtmmtttt 
appelle' z/ow lesengl:s} 

ty^lice Let enisles, les AppelUnt dt T^jlet. 

Kath, T)e N>tjles efcimta. : dues 'Koj^fi te ptrle Hen •■ de 
Ildndyde fixgrti^de 7{jijUs. 

Alice. C'eft hten dit Af^dame, iltfl fort hen AngUit. 

Kdth, Dues fnaj en An^lcit le tras. 

^Itce. ©f Artte^Madime. 

Kaih.Ltlecoude. 

9^ lice. "D'Slbow. 

Kath. T)"£lhoTPc: le rtienfititz U rtpetititn de ttus Us tntts 
que Veus m'avez. apprins Jet aprefent. 

eyiltce. II efi (rop dtjficife Af^dumexorKrae iepenfi, 

K*th- Sxcufe fucy Alice jtfcohtt , d' Hind , dt fingriy dt 
NajUs, d ...^Ttne de Filhw. 

Alice. T/'e/inv, Afiidnrnt^ 

Kaih. O Seioneur Viet .ie men enllit ^Elhov^ximmtnt 
afpelle vtui le col. 

PLATE 95. SECOND FOLIO, 1632. HENRY V., PAGE 79. 
(SMALL ITALIC TYPE.) 



Kath. DeNick^ & It manton. 

*y^licf. de Chin. 

K.uk. 'De Sin:le colje 7^ct^,le mAfitou, d* Si». 

■^Uce. Ouj.Sdufv-ftn hoKKcHr en verne vous frotiSHcies 
let fnott aujfi droin,(jue le Natifs d' Angtelerre. , 

Kdth. Je ne douif ptiini d ^fprendrt fur U grace deDitM, 
d-enpcude temps, 

<aU. N'aVfz. vouspifs Jefa euhlie ce ^ne ft Vtuj aj enfeign/. 

Kath. Nomme, lereciterty a vous frompt(mtHt,d H*fid,dt 
Fi»gre,de Nnjles, Madame. 

t^lice. lie T^tiyla,'JM.idtimt. 

Kath. Dt N*jlts,di t^'-irme^d: llhoif. 

jihce. Siuts v«Flre homieur d'elhcitv. 

Ktttb. tyf$nji dis-it d' tll'orv.Je Nuk^, <irde Sin: temtntitp- 
peSe vans lespiedi (^ de rob a. 

jilct. Le foot 'JAUdume ,(^ k CoHnt , 

Kttth. It Footy & le Count : O Sfign.'hr Dien , cefont dtt 
matt m^iHuitls , corruptible ^ impudicjHe , q- von pvur let "Da- 
met <t Honr.ettr d'nfer : le ne vwdrcij pranetcer ces mots de- 
vant let Seigneurs de Fnr.ce , poy.r tent le mcnde^ilfitHt le Foot 
(^ le Ceu!ft,neaf!t mows, le recitsraj i/n antrefntrna lecnn en- 
femhle , d Hand , de f-'tngre , ile N^jltt , dArrm, u'ElbetrJe 
2(jckji^ StH, de Foct,le Count. 

Alice. Sxctlleat, Madj'ne. 

K»th£'efi affei, pour vnefcis,«l!onsnous en difntr. 

Exeunt. 

Enter the King tf France, the Dolphin, the 
Conftabii efFraxce andsihtrs. 



PLATE 96. SECOND FOLIO, 1632. HENRY V., PAGE 79. 
(SMALL ITALIC TYPE.) 



The Song. 

when 'Dafiisfied^and VtoUtt blew^ 
AniCuekgrv-bHds ofjelUw hev : 
And Lady-fmockj aHfilver white, 
Dec paint the Medeweswith dtlight, 
S The Cuckow then on every Tree, 
Afockes married men,jor thmfings he, 
Cuckorv. 

Cuckfn>,(^Hek?'''> :Oyvordoffeare, 
ZJnfleA(irjg to a mtrried eare, 

10 >*'A« Shefhettrdspipe on Oatenfirtvues, 
jind merry Larkes are TloHghmeni docket : 
JVhenTttTtles tread,4nd Rocket and Dtrrvety 
And Maidens blench their fumnterfmockes : 
The Cuckow then on every tree 

1^ Mockes married men ; for thiu fngs he, 
Cuckov- 

C/tckerVyCuckpi*' : O word ef/eire^ 
Vnpleafng to a marriedeare. 

Winter.- 
20 ff^hen Iftckleshang bj the really 

tyfndDicke the ShepheardblaweshU naile ; 
And Tern brftres Legges into the Hall, 
And Ml Ike comes frozen home la paiU .- 
lyhen blotdis mpt,tind rrajesbefotfle, 
Zj Then rtightljfings theftarktg Owle 
TH-rthit to-who. 
A merry note, 
Vhile^eafie lone doth keele the pet. 

when all aloud the Vind doth blow, 

30 Jndcoffing drotvnes the Parfons Saw : 

And Birds fit brooding in theSnom, 

ey^ndlAaTiizns Nofclookesred a»drat^r 
when readied Crabs htf^e in the bovle 
Then night Ij Jtngs the flaring Owle, 
y$ Tu-whit to who; 

*yf merry note, 

While grease lone doth keele the pet. 



PLATE 97. SECOND FOLIO, 1632. LOVE'S LABORS LOST. PAGE 144. 
IVh eiiDas iespi cdand I'iole tsblc icandC uckow biidso fycU owhew 









loot /^-..yK/7/7J./^^' 



il/^ /. y?" 



Ta 

Ka,K - 

Lc _ 



V 



■'ittSJ 



't^ __^ — "Vrf^-c^^e/.t,^- I 



J\asiy^ . — — 



/■ . /^■•y ?t 



7? /-.'• 



7 






J. '3. 

■' .7?.///, 
/.v 



/y^ .-.^ /// // ;p /• J / 



L^* SF*^-^ 



£,,-^^ 















■i' ^ 

'^Da./Jfe r _ y -T. -/■ •/ /■i'-S'. ^ // #^ 
£.... _ - ^^-^ 









// __ 

o 















2 H^^^y^l. I /3j7? 



/-x^/ /^o ^ .<~-!r 



PLATE 98. SECOND FOLIO, 16.32. SMALL ITALIC ALPHABET. CAPITAL LETTERS. 



^..>.^ o. 






It^-'— ^ /r 






a// _ 






Caff/uo ^ 


-. 


Z^*-^. 


Cctne^ _ 




JI.H. 


de/i'yi-i ^ 


.. 


//;. 


i/^/^ — 




/.ro 


ff/^/r- Lo'jje^s - 


4, -t /, 


//.3>^3>-. 


e2^ry,tree _ 


- 


^y. 


TViJ z *•/* _ 


,. 


ISC. 


/''- - 




A-/ 


^>^a-(t e _ 


" /' *» 


/s-.' 


pv-zfaj/e. 




^.. 


h o^cj - 


'"' fi •• 


i.Si 


^cjre ^ 




/«. 


in^ 


.. 


Ivc. 


ZKlfo __ 




//r. 


f^ea/e _ 


' /, 


/, y/ 


/L_ /.ay/^es _ 




/uv 


iooAus .^ 


' " «> 


/.r 


/- ^/zy^r 




//» 


fti^rh-y 


. 


Iff 


men^ 




///. 


nirtc -, 


'•- y. #' 


iff. 


note ^ 




/>'^. 


fn -_ 


ft ,. // 


Ijt 


Ott _ 




/.. 


fipe - 


., 


/./ 


taife 




/yc 


^ue ^ ^/,=^,^/^^.^^ 7P 


/.//, 


aic^ ift ^JA-i 


-/V-;;/P 


/.Y. 


feci-tero-y _ , 


• 


l^c. 


Tc^a. _- 





J.rc , 


A^s ^ paS _ 


. ,. .1 


Mc-3i. 


/an6. appe// 


»«,_ ^'^-^-z 


f e yyt-p j- _ — 


'■ 


IJ2. 


toL^t _ 


'• - ■• 


>^//- 


Uf-e Y 


,. 


£¥Y. 


lious -Dicu. 


■■■■J/ 


^-2i. 






I.rY. 




y_ ymsrY^ _ 


A // A 


y.y^. 


y. 7^'^yf<^i — 


ft *■ • 


.// 


^-7^^:ce->-' — 


* ,, f ' 


tic. 


^ „ asse-z 


" 


/r^. 



PLATE 99. SECOND FOLIO, 1632. SMALL SIZE ITALIC ALPHABET. SMALL LETTERS. 



L AROE type: ■ 


L/f'^CE TVPE 1 


FO^r A. ~or^~ 


^ 


TO NT 


A . TCNT £ . 


(zJ a 


J 


a 


^ 


n < 


tTy^ n 


S h 




h 










cc ' 




c 


T 


T 


T f 


7) J 




d 








£ e 


E 


e 


K 


T 


r 


p f 






s / 


s 


S f & 


9 g 




i 


T 


t 


T t 


H h 


H 


h 


Z) 


U 


V u 


f ^ 


I 


i 


W 




W 


K { 


K 


k 








L / 


L 


I 


Y 


y 


y 


(i5^ w 


M 


rn 









PLATE 100. SVLVA SVLVARUM, 1627. ALPHABETS IN LARCJE TYPE. 



//f- 


C' / 1/- A^ 


l-YV 


e 


s^ 


lylAll -ryPr 


7=~o r^ 


- A . 


f^O A-' -r 


^. 


Tc^tA. ^OUt 2. 


A 


a 


^ 


a 


A 


a 


cA it 


B 


h 


^ 


/ 


£ 


h 


n h 


c C 


c 


^C 


c 


C 


C 


C C 


D 


d 


1) 


d 


V 


d 


D d 


B 


e 


B 


e 


B 


e 


E e 


F 


f 


F 


f 


J 


f 


P f 


G 


§> 


€ 


g 


G 


g 


G Z 


H 


h 


hf 


h 


H 


h 


yi h 


I 


t 


I 


I 


J 


I 


1 i 


K 


k 


K 


k 


K 


h 


K k 


L 


1 


L 


i 


L 


I 


L I 


M 


nt 


M 


m 


M 


m 


^yvi 7n 


N 


n 


K 7^ 


n 


M 


ft 


K >7 

















Q 


Q 


P 


P 


7> 


/ 


V 


f 


T t 


^ 


? 


^ 


H 


-e. 


f 


^, ^ 


72 


r 


^ 


r 


K 


r 


:r. r 


S 


s 


s 


s 


S 


J 


s s 


T 


t 


T 


t 


T 


i 


T T t 


V V 


u 


V -^ 


IL 


V 


n 


y -J u 


W 


tt^ 


^' 


}V 


w 


w 


IV ^ ^ 




X 




X 




X 


X 


r 


1 


IfT 


y 


Y 
2 


Y 

2 


2 X 



PLATE 101. SVLVA SVLVARUM, 1627 



ALPHABETS. MEDIUM AND SMALL TYPE. 



Ire/, 


c S n/i A // 


/ ype 


-??o, 


11, i« Typ^ \ 


~o n 


^ y-{ 


\ f3 ;: 


t 3 


Fo t^ 


tj^. 


To^iB. 


A 


a 


c// 


a 


A 


3. 


A cL 


B 


h 


-B 


^ 


B 


b 


B b 


C f 


c 


^ C 


c 


C 


C 


C c 


D 


d 


'D 


^ 


D 


d 


J) d. 


£ 


e e 


£ 


e e 


F 


e 


c 


P 


/ 


F 


/ 


F 


f 


F f 


G 


g 


9 


i 


G 


g 


^ g 


N 


h 


n 


/? 


J-r 


h 


^ h 


I 


/ 


I 


i 


I 


i 


r i 


7C 


K k 


K 


.{& 


K 


k 


K k 


Z 


/ 


L 


/ 


L 


t 


L I 


M 


m 


^l 


r)i 


]\^ 


m. 


M yn 


j\r 


n 


-T 


?! 


N 


n 


AT n 


O 





o 


a 


O 


. 


O 


jP 


/ 


^ 


^ 

r 


P 


P 


F p 


^ 


f 


^ 


f 






CL 


>? 


- r 


R 7^ 


r 


K 


T 


R r 


sS- 


f s 


S 


f ' 


S 


S 


S s 


T T 


t 


T ' 


-t 


T 


t 


T t 


V 


V. 


-Lf 


u u. 


V 


u 


V u 


v\r 


w 


V<^ 


-KT 


w 


w 


W -vr 


T 


1 


r 


1 


Y 


y 


2. 



PLATE 102. SECOND FOLIO, 1632. ITALIC AND ROMAN ALPHABETS IN SMALL TYPE. 



r-^f^ "t /i • lF~o >-t i. 2?. 



A 

B 
C 

D 
JB 
F 
G 
H 

I 
K 

L 



h 
C 

e 
/ 

8 
h 
1 
k 

i 



M m 

N n 
O 

P 
R 

s 

T 

Y 



o 

p 

T 

5 

t 

n 

X 



A 
B 
C 

V 
B 
F 



J 

K 

L 

N 
O 

P 
T 



e 
h 



1 
jh 

n 
o 

P 

r 

5 

fc 

U 



Di ^r'3.pk^ ^ LoY^S S. 



eft 



- I 



Jl 



ce 



/- 



ih f 



R 



f 



PLATE 103. SECOND FOLIO, 1632. ALPHABETS. ROMAN TYPE OF L. DIGGES POEM. ETC. 



Bed. — ?/.J^r£. A^-^. 

Chumh&r^ .. .. - 



Taictc^ffe: _ £'/-<^- 









'^^ir^'.' 



■ >f^ 



L^£f>,fajue._ ^^...^.^yy///. 



M< 



!(oL tcf ."7^^ 



Oy-Jcr ^ 



y< 



0»lrt,«.S 



^, 



. £.11 -f'lf 









a.c:. 










<5 ,1./.^. 












I 

■ / ,'f 

O- j< ct,w 






(ft 

f . 



" ' yfc. /<yj. 



>'-<iJ. 



i AC.- 



.^/ 









-/. j- 



PLATE 104. SECOND FOLIO. 1632. ALPHABET. EXAMPLES OF RO.\L-\N TVPE IN L. DIGOES POEM, ETC. 



XII. 
A DESCRIPTION OF THE ALPHABETS 



I. Second Folio, 1632. L. Digges Poem. 

Note. All references, unless otherivtse designated, are to Plate 7. 



J 



B 
C 



D 



I. Italic Capitals. 

(a-font) is plain, finished with a straight serif at the base of each limb, 

as in "And Time," line 7. 

(h-font) has left limb long and finished with a dot, right limb short 
and finished with a serif, as in "The labour of an Age," Epitaph, 
Plate 87, line 4. 

(a) is broad, and level at the base, as in "Booke," line 8. 

(b) is somewhat narrow, the base line pointing downward, as in "Be 
sure," line 24. 

(a) is in two sizes, the larger extending below the line. The top line 
beginning in a dot is light in both, the curve at base is short, as in 
"Condell," and "Cooke," Actors' Names, Plate 82, lines 14 and 19. 

(b) is in two sizes, the larger extending below the line. The line at the 
top reaches well out and is heavy. The curve at the base is wide, 
as m"ConsLtence," Ep. 2 Hen. IV., Plate 91, line 17; and "Cowly," 
Actors' Names, Plate 82, line 16. 

(a) is a somewhat broad letter, flat at the base, as in "Deare Sonne," 
Epitaph, Plate 87, line 7. 

(h) is a narrow letter pointed at base, as in "Delphicke Lines," Epitaph, 
Plate 87, line 14. 

47 



48 THE BI-LITERAL CIPHER 



E 



F 



G 



H 



I 



K 



(a) has slanting lines and a slanting serif at the top, as in "WEwondred" 
I. M. Poem, Plate 88, line 2. 

(b) is a broad letter with level lines and a straight serif at top, as in 
"Ecclestone," Actors' Names, Plate 82, line 13. 

(n) is a broad letter level at the top, with a straight serif, a slanting serif 
at the base, as in "Fresh," line 10. 

(h) is a narrow letter, slightly slanting top with a slightly slanting serif, 
a straight serif at the base, as in "Fire"\\nt 14. 

(a) is a broad, well-formed letter, finished with a straight serif, as in 
"Goi/ghe," Actors' Names, Plate 8i, line 16. 

(b) is a narrow letter, finished with a slanting serif, as in "George," 
Actors' Names, Plate 82, line 13. 

(a) is a broad letter with light connecting line between the uprights, as 
in "Heire of Fame," Epitaph, Plate 87, line 7. 

(/>) is a narrow letter, the connecting line between the uprights being 
often heavy, as in "Here we alive," line 8. 

(a) has a plain stem with a straight serif at top and bottom, as in "/ 

heare a Scene," line 20. 

(/)) has a curved stem ending in a dot at the base; the top is also curved 
and a bar cuts the stem, as in "/ eWe beleeve," line 16. 

(a) is a narrow, heavy letter, with a queue ending in a dot, as in "Kings " 
Epitaph, Plate 87, line 18. 

(/<) is a broad letter, the queue ending in a straight line, as in "Kempt," 
Actors' Names, Plate 82, line 11. 



L 



M 

N 







P 



^ 



OF SIR FRANCIS BACON 49 

(a) has a straight narrow stem finished with a serif at the top, a long 
shaded line forming the base, as in "cvry Line," line I2. 

(b) has a straight stem finished at the top with a serif; the line at the 
base is not shaded nor long, as in "Lozvine," Actors' Names, Plate 82, 
line 17. 

(a) is light and delicate with even lines, as in "Monument," line 7. 

(b) is a heavy letter. The third stroke is shaded at the top, as in "Dost 
make us Marble," Epitaph, Plate 87, line 16. 

(rt) has a short, connecting stroke between the two uprights, as in "Nor 
shall I," line 16. 

{b) has a long, connecting stroke between the two uprights. This stroke 
extends below the line of writing, as in "Nor Fire," line 14. 

(a) is more heavily shaded on the left side than on the right, and shows 
light lines at the top and bottom of tlie oval, as in "Of his," line 15. 

(b) is shaded quite evenly on both sides with heavy lines at top and 
bottom of the oval, as in "Or till," line 20. 

(a) is a wide letter; the curved top turns upward as it joins the stem, 
as in "Posteriiie," line 10. 

(h) is a narrow letter, the curved top ends in a straight line joining tlie 
stem, as in "Phillips," Actors' Names, Plate 82, line 10. 

{a) is somewhat broad; a light slanting line connects the oval with the 
queue, as in "Ouarrell," Prologue, Troylus and Cressida, Plate 92, 
line II. 

(h) is narrow. A short, nearly vertical line connects the oval with the 
queue, as in "Qm^^-mc," Prol, Troyl. and Cress., Plate 92, line 10. 



50 



R 
S 

T 

V 



r 



THE BI-LITERAL CIPHER 

{a) is a broad well-made letter with a flat line at the top curving back- 
ward at the left end, as in "/?/(7i<3rrt'," Actors' Names, Plate 82, line 17. 

{h) is somewhat narrow. The line at the top is rounded and ends in a 
dot, as in "Rohinson," Actors' Names, Plate 82, line 17. 

{n) is a broad letter, the top reaching well out to the right, as in "Scene," 

line 20. 
(b) is narrow and heavy with short rounded curves, as in "Shall with 

more fire" line 23. 

(fl) is a light, plain letter with a straight top, as in "Tombe" line 6. 
(b) is usually heavy with a curved top, as in "Till these" line 22. 

{a) is a plain, sharp-pointed letter with a straight serif on each limb, 
as in "Volumes," line 22. 

(b) is a rounded, bowl-shaped letter with one curved serif, as in "Ven- 
ture," Ep. 2 Hen. IV., Plate 91, line 11. 

(a) is a delicate, well-made letter. The second stroke joins the third at 

a point near the top, as in "World," line 5. 
(V) is usually a heavy letter. The second stroke joins the third at a short 

distance from the base. The fourth line is often curved and high, 

as in second "Workes," line 5. 

{a) is a well-made letter, with a spreading top, as in "You Britaines," 

Hugh Holland, Plate 85, line 5. 
(i) has not been found in this edition. 



a 



b 



c 



d 



OF SIR FRANCIS BACON 51 

//. Italic Small Letters. 

(a-font) has a somewhat hroad oval, shorter than the stem at the hase of 
the letter. The last stroke is light and free, as in "name," line 6. 

(i-font) has a narrow oval, standing on a line with the stem, at the base 
of the letter. The last stroke is close, as in "alive," line 8. 

(a) has very little, if any, shading in the stem. A rounded base makes 
the loop elliptical rather than oval in form, as in "Tombe," line 6. 

(J>) has a heavy stem and pointed base, the loop being oval in form, as in 
"bankrotit," line 17. 

(a) is a narrow letter with short curves, as in "each Vene," line 12. 

(i) is a wide letter with long curves top and bottom, as in "which, out- 
live," line 5. 

{a) usually has a stem of uniform thickness; the loop is oval — a light 
line shaded at the base; the last stroke is free, as in "dead," first "d," 
line 16. 

(b) has a stem thicker in the upper part. The loop is an ellipse some- 
what heavy; the last stroke is close, as in "redeeme," line 13. 

{a) is in two forms. The line bisecting the loop makes a large angle with 
the line of writing, and at the same time the curve is long and open; 
or, the bisecting line makes a less angle, but the curve is short and 
close, as in "Posteritie," line 10. 

Q>) is in two forms. The line bisecting the loop makes a large angle with 
the line of writing while the curve is short and close, as in "Brasse," 
line 9. Or the bisecting line makes a more acute angle, while the 
curve is long and open, as in "Marble", line 9. 



52 THE BI-LITERAL CIPHER 



/ 



g 



b 



k 



I 



(d) is but slightly shaded and ends in a short straight line; the bar is 
heavier at tlie left, as in "feeling,'' line 23. 

(/;) has a heavy stem ending in a dot; the bar is heavier at the right, as 
in "fade," line 9. 

(a) has the lower loop pointed at the left side; the nose is a hook, as in 

"feeling,'" line 23. 

(i) has the lower loop angular at the left side. The nose is either a 
straight line or a nail-head, as in "Stage," line 17. 

(a) has a loop rounded at the top. The line bisecting the loop does not 
make a large angle with the line of writing, as in "length," line 4. 

(b) has a loop pointed at the top. The line bisecting the loop makes a 
large angle with the line of writing, as in "thy pious," line 4. 

{a) is a well-made letter with fine lines at the top and bottom, as in 

give, Ime 4. 

(b) is shaded and rounded at the base with close lines at the top and 
bottom, as in "pious," line 4. 

(a) has last stroke slightly curved. The letter is broad at the base, as in 
"thinke," line 1 1. 

(b) has last stroke nearly straight. The letter is narrow at the base, as 

in "nobly take," line 20. 

(a) is a v/ell-formed letter finished with a straight serif at the top; the 
last stroke is free, as in "beleeve," line 16. 

(b) is usually heavy, rounded at base. The serif at the top is slanting; 
the last stroke close, as in "length," line 4. 



OF SIR FRANCIS BACON 53 

(a) has a clean, thin line at the commencement of the last curve; broad 
yyi, at base of this part; free lines top and bottom, as in "make," line 9. 

(b) has slight shading in both curves at the top; narrow at base; last 
stroke close, as in "Tunc," line 7. 

(a) has a clean thin line at commencement of the curve; broad at base; 
'Jy free lines at top and bottom, as in "a)id Marble," line 9. 

(i) has slight shading in curve at top; narrow at base, last stroke close, 
as in "nobly," line 20. 







p 



q 



r 



(a) is somewhat pointed at base. The line bisecting the letter does not 
make a large angle with the line of writing, as in "out-live," line 5. 

(b) is rounded at base. The bisecting line makes a large angle with the 
line of writing, as in "Scene more" line 20. 

{a) is a delicate well-formed letter with a broad loop, as in "pious," 
line 4. 

(i) is somewhat heavy; the head is usually blunt; the loop is narrow in 
the lower part and slants to the stem, as in "proJigie," line 11. 

(a) is a broad letter with an elliptical loop, as in "Reliques," Epitaph, 
Plate 87, line 5. 

(b) is a somewhat narrow letter with an oval loop, as in " publique," 
Hugh Holland, Plate 85, line 15. 

(a) is broad at top and shows that both lines were continued to the base 
when drawn, as in "Lawrell" line 25. 

(b) is narrow at top, left side often high. The angle between the bi- 
secting line and line of writing is large, as in "Fresh to all Ages," 
line 10. 



54 THE BI-LITERAL CIPHER 



S 



t 



u 



V 



w 



X 



(a) is in two forms, technically called the long and short s. The former 
extends helow the line of writing, is somewhat heavy, and ends bluntly 
or in a dot, as in "Be sure," line 24. The latter is a well-made letter 
reaching outward at the top, as in "all Ages," line 10. 

(b) is in two forms long and short. The long s extends below the line of 
writing, is only slightly shaded, and ends in a short straight line, as in 
"Verse," line 12. The other s is narrow with a short curve at the top, 
as in "what's new," line 11. 

(d) is a well-formed letter with a light stem; the cross-bar is often a dis- 
tinct nail-head; last stroke free, as in "thy pious," line 4. 

(i) is a heavy letter with rounded base; the last stroke is close, as in 
"Fresh to all," line 10. 

(a) is broad and clear, wide and open at the top, as in "Be sure," line 24. 

(i) is a somewhat narrow letter. The bisecting line makes a large angle 
with the line of writing, as in "our Shake-speare," line 24. 

(fl) is narrow and pointed, as in "live eternally," line 25. 

{b) is broad and rounded or bowl-shaped, as in "view," line 8. 

(a) has two high strokes running parallel, as in "with Lawrell," line 25. 
{b) is usually broad and heavy; level top, as in "wJienPoitentte," line 10. 

{a) has heavy dots upon the ends of the lighter stroke; the heavy stroke 
is short and finished with an upward turn, as in "Expectation," 
Prologue, Troylus and Cressida, Plate 92, line 21. 

(b) is delicately made. The dots at the ends of the lighter stroke are 
merely shaded; the heavy stroke is long and graceful, as in "next". 
Effigies, Plate 86, line 7. 



y 



OF SIR FRANCIS BACON 55 

(a) is a well-made letter; the space at the top is somewhat wide, as in 
"thy name must," line 6. 

{b) is somewhat heavy, the space at the top is narrow, as in "thy Workes," 
line 5. 



^ (h) is found in "hazard" Piol. Troyl. and Cress., Plate 92, line 23. 



///. Italic Digraphs. 

The law of tied letters, as far as the cipher is concerned, is the law of liberty, 
and must he found by tests on the part of the student. Every double letter or 
digraph is capable of four variations, giving the combinations 

a a, a b, b a, b b. 
In this poem, following the order of the alphabet, the first digraph to be con- 
sidered IS "cr." 

/I P ("") 's t^'s union of an angular shaded a with an open, long curved e, as in 
"Scaene," Prol., Troyl. and Cress., Plate 92, line 2. 

/J i {aa) is the union of the simple forms of the components as seen in font a, 
with a somewhat wide space between the letters, as in "Nicholas," 
Actors' Names, Plate 82, line 12. 

N. B. A dot in the a of the digraph as in "as Naso said", line 14, 
makes the combination ba. 

(ab) is the union of the simple form of a in font a, with the simple form of 
s in font b. The space between the letters is wide, as in "as our 
Argument," Prol., Troyl. and Cress., Plate 92, line 26. 

(ha) is the union of the simple form of a in font b, with the simple form of 
s in font a. The space between the letters is somewhat narrow, as in 
"was never scene," Ep., 2 Hen. IV., Plate 91, line 19. 

(bb) is the union of the two simple forms of the components as seen in 
font b. The space between the letters is somewhat narrow, as in "as 
your pleasures are," Prol., Troyl. and Cress., Plate 92, line 31. 



56 THE BI-LITERAL CIPHER 



ct 



ff 
fi 

ft 



ts 



{ad) is the union of the simple form of c in font a with a somewhat heavy, 
sharp-pointed t joined b\ a curved line at the top, as in "act" I. M. 
poem, Plate 88, line 7. 

(rti) is the union of the simple form of c in font (/ with a delicately formed 
t narrow at the base. The letters are joined by a long curved line, 
as in "Spectators," I. M. poem, Plate 88, line 5. 
N. B. A dot in the c of "Spectators" makes the combination bb . 

(ba) is the union of the simple form of c in font b with a heavy, sharp- 
pointed t joined by a long curved line, as in "Actors," Prol., Troyl. 
and Cress., Plate 92, line 25. 

(bb) is the union of the simple form of c in font b with a delicately formed t 
narrow at base, joined by a short curved line, as in "effect," Effigies, 
Plate 86, line 10. 

(bti) is the union of the simple form of/ in font b with the simple form of/ 
in font a. The latter is longer than the former, as in "effect," Effigies, 
Plate 86, line 10. 

{ab) is the union of the simple form of/ in font a with the simple form of i 
in font b, as in "Coffin," Hugh Holland, Plate 85, line 10. 

{ba') is the union of the simple form of/ in font b with the simple form of 1 
in font a, as in "fire," line 23. 

{ba) is the union of a well-made delicate form of/ with the simple form of 
/ in font a, as in "flow," Epitaph, Plate 87, line 12. 

{aa) is the union of the simple forms of the components as seen in font a. 

The letters are joined by a line, as in "is rent," line 6. 
{ab) is the union of the simple form of; in font a with the simple form of j 

in font b. The letters are connected by a line, as in "This Booke," 

line 8. 



IS 



II 



^h 



OF SIR FRANCIS BACON 57 

{ha) is the union of a delicate well-made / with the simple form of j in font a. 
The letters are connected by a line. The first stroke of / is free, as 
in "is not Shakespeares," line 12. 

{bb) is the union of a delicate well-made letter ; with the simple form of s 
in font b. The first stroke of/ is free. The letters are connected by 
a line, as in "his Rayes," Hugh Holland, Plate 85, line 9. 

N. B. A dot near the i of "his" in "his, thy -wit-fraught," L. 
Digges Poem, line 15, makes the combination ab. 



(aa) is the union of two tall letters somewhat heavy at the top, having the 
last stroke of each free, as in "Nor shall /," line 16. 

{uh) is the union of a tall, heavy letter /, having a free stroke at the base, 
with a well-made letter /, somewhat lighter and smaller, as in "live 
eternally," line 25. 

(ba) is the union of a delicate, well-made / with a tall letter /, somewhat 
heavy and having a free stroke at the base, as in "shall view," line 8. 

{bb) is the union of two delicate, well-made components. In digraphs, 
the last stroke of the i-font / usually makes a large angle with the 
stem, as in "shall with more jire" line 23. 

{ad) is the union of a heavily shaded jf with the simple form of h in font a, 
as in "should," Epitaph, Plate 87, line 5. 

{ab) is the union of a somewhat shaded letter s with an h marked by a 
lack of breadth and roundness in the loop, as in "shall revive," line 13. 

{ba) is the union of a well-made, evenly-drawn letter s with the simple 
form of h in font a, as in "Nor shall," line 16, and "Fresh," line 10. 

{bb) is the union of a well-made, evenly-drawn letter s with an h whose 
loop is narrow and long, as in "shall view," line 8. 



58 THE BI-LITERAL CIPHER 



St 



si 



SP 



{ad) is the union of a long s having a shghtly elongated head, with the simple 
form of ; in font a, as in ''side," Prol., Troyl. and Cress., Plate 92, 
line 22. 

{ah) is the union of long s, having a slightly elongated head, with the 
simple form of/ in font h, as in "six-gated," Prol., Troyl. and Cress., 
Plate 92, line 16. 

{bb) is the union of long s, having a thin head, with the simj)le form of / 
in font b. The i-font s is more inclined to the right than the a-font 
letter, as in "easie," Epitaph, Plate 87, line 12. 

{ah) is the union of a long s, ending in an upward turn, with a well-made 
letter /, as in "Sleepes," Prol., Troyl. and Cress., Plate 92, line II. 

{ha) is the union of an evenly-drawn long s, ending in a short, straight 
line, with a simple form of / in font a, as in " slow-endevouring," 
Epitaph, Plate 87, line 11. 

{aa) is the union of a well-made, slightly slanted long s with an elongated 
simple form o{ p in font a, as in ''he sped," line 17. 

{ah) is the union of a well-made, slightly slanting long s with an elongated 
simple form of /> in font h, as in "Shakespeare" Actors' Names, Plate 
82, line 7. 

{ha) is the union of a greatly slanted long s with an elongated and often 
enlarged simple form of/? in font a, as in "displeasing," Ep., 2 Hen. 
IV., Plate 91, line 9. 

{bb) is in two forms. The first is the union of short letter s in font b with 
an elongated simple form of p in font h, as in "Displeasure," Ep., 
2 Hen. IV., Plate 91, line 3. The second is the union of long s in 
font b with a long p having the characteristics of this letter in the same 
font, as in "spake," line 21. 



OF SIR FRANCIS BACON 59 

(ao) is in two forms. The first is the union of two long shaded letters, as 

^^ '" "Jtssohes," line 7. The second is the union of a long shaded letter 

with the simple form of short s in font a, as in "(Impossible)," line 18. 

(ab) is the union of a long, slightly shaded s with the simple form of long s 
in font b, as in "Brasse," line 9. 

(ba) is the union of a delicate, well-made long s with the simple form of 
short s in font a, as in "passions," Effigies, Plate 86, line 9. 



J/ 



us 



(on) is in two forms. The first is a well-made, slightly shaded long s 
joined with the simple form of t in font a, as in "rest," line 22. The 
second is the union of the simple form of short s with the simple form 
of t in font a. The joining line is curved, as in "still," line 8. 

(ab) is the union of the simple form of s in font a with the simple form of 
/ in font /), as in "Posteritie," line 10. 

(ba) is in two forms. The first is the slightly shaded long s with the simple 
form oft in font a, as in "dost behold," Effigies, Plate 86, line II. The 
second is the simple form of short s in font b joined by a curved line 
with the simple form of t in font a, as in "ivhil'st," Epitaph, Plate 87, 
line II. 

(bb) is the union of a delicately shaded long s with a sharp pointed t 
crossed by a nail-head bar, as in "mist," line 17. 

(ba) is the union of a broad letter n, having a short free line at the com- 
mencement, with a simple form of short s in font a, as in "pious," 
line 4. 

(bb) is the union of the simple forms of these letters in font b, as in "Or- 
gillous," Prol., Troyl. and Cress., Plate 92, line 3. 



60 THE BI-LITERAL CIPHER 

2. SixoND Folio, 1632. Dedicatory Epistle. 
Note. — All references, unless otherwise designated, are to Plates 13— 16. 

/. Italic Capitals. 



A 



B 



C 



D 



E 



(a) is plain, resembling the Roman style in form, each limb being finished 
with a serif at the base, as in "Author," line 25. 

(b) is an ornamental letter, having a flourish at the end of the left limb, 
while the right is finished by a short serif, as in "And," line 48. 

{a) has a level top and flat base. The curves also are somewhat wide, 
as in "Booke," line 31. 

(b) has a rounded top, is somewhat narrow, has slightly curved base 
and pyramidal stem, as in "But since," line 23. 

(a) is in two forms. One long, extending below the line, with short, 
close curves at the top and bottom, as in "Creame," line 45; the other 
short, resting on the line of writing, with curves similar to those of 
the larger letter, as in "Cleopatra," A. f C, p. 385. 

(b) is also in two forms, long and short, with wide curves, as in "Coiin- 
trey," line 44, and in "Cake," line 47. 

(a) is broad, having a flat top and nearly level base, as in "Dreame," 
M. N. D., p. 162. 

(/») is somewhat narrow and is distinctly pointed at the base, as in "Dedi- 
cation," line 23. 

{a) is plain in form, like a Roman E, except that it is slanting, as in 

" Exequutor," line 27. 
{b) is formed, like a script letter, of two curved lines, one above the other, 

as in "Excellent," line 7. 



F 



G 



H 



I 
K 



L 



OF SIR FRANCIS BACON 61 

(a) has a long, level top and slightly pyramidal stem, as in "For, so 
much," line 32. 

(b) is delicately made, and has a stem of the same thickness throughout, 
as in "Fellow," line t,j. 



{a) is somewhat heavy. The curved upper portion joins the stem only 
slightly above the line of writing, as in "Guardians," line 36. 

(/>) is delicately formed. The loop curves sharply upward to the stem, 
as in "Gunimes" line 46. 

{a) has the left limb extending slightly below the line of writing; the 
cross-bar grows heavier toward the right, as the first H in "H.H.," 
line 42. 

{b) has uprights of equal length connected by a somewhat heavy bar, as 
in "fFHilst," line 15. 

(a) is plain, finished by a straight, short serif at the top and bottom, as 

in "lulifi," R. e^ J., p. 102. 

(b) has a curved top and cross-bar, as in "Incense," line 46. 

(a) is heavy, with slightly pyramidal stem and heavy blunt queue, as in 
"King," King John, p. 12. 

(b) is delicately made with stem of even thickness and graceful queue, as 
in "King's most Excellent," line 7. 

(a) is broad with slightly curved base, as either L in "L.L.," line 52. 

{b) is somewhat narrow, with a level base line often shaded toward the 
right, as in "Lords," line 43. 



62 THE BI-LITERAL CIPHER 

/?/'•'■"■■■'■•"■'""■•"■■■"""'"•■■■"""■'■'- 



N 







P 



^ 



R 



{b) is ornamental, the left limb ending in a flourish, as in "Majestie,^' 
line 7. 

(a) is of the same style. The final stroke is of uniform thickness and ends 
in a prolonged dot, as in "Noble," line 39. 

(b) is also ornamental; the final stroke is slight at the base, grows gradu- 
ally heavier, and terminates in an abrupt dot, as in "Nations," line 45. 

(a) is heavy, shaded somewhat more on the left side than on the right, 
as in "Orphanes," line 35. 

(^) is broader and more delicately made than the a-font letter, as in 
"Othello," Othello, p. 348. 

(fl) is heavy, usually having a pyramidal stem. The loop is somewhat 
flattened at the base, as in "Patrones," line 32. 

{b) is delicately formed. The loop slants toward the upright, as in 
"Playes," line 38. 

has not been classified. To correspond with the small letters, the 
(7-font should have a broad oval, and vertical connecting line, as in 
"Quartus," M. of V., p. 178, while the ^-font letter should be more 
delicate with a slanting connecting line, as in "Quarto" M. W. W., 
p. 42. 

(fl) is sturdy, with a heavy, often abbreviated, queue, as in "Richard," 
R. HI., p. 175. 

(b) is delicately made and has a long slender (lueue, as in "Readers," 
To the Great Variety of Readers, Plate 17, line i. 



s 



b 



OF SIR FRANCIS BACON 63 

has not been assigned to fonts. The ^V of "Secundus," R. III., p. 
182, corresponds with the small s of the a-font; and that of "Sca-na," 
R. III., p. 182, with the b-font letter. 



r((i) is usually blunt, or depressed at the top, as in "Temples," line 50. 
(b) has a top curving upward, as in "There is a great difference," line 
31- 



JV 



{a) is plain, finished by short, straight serifs, as in "Volumne," line 34. 
{h) is round or bowl-shaped, as in "Venice," Othello, p. 331. 

id) is heavy; the second upward stroke is light at the base, but heavily 
shaded at the top, as in "Wherein," line 39. 

{h) is delicately formed, both upward strokes being light, as in "We 
cannot gnc" line 43. 

The character b', for the Latin et, is used as a single letter in this 
epistle, and belongs to the i-font. 

//. Italic Small Letters. 

(n) is somewhat heavy and is finished by a close upward stroke. The 
l/f line bisecting the oval makes a small angle with the line of writing, as 

in "thankefidl," line 15. 

{b) is delicately formed, the lower side of the oval and the last stroke 
showing as hair lines. The bisecting line and the line of writing 
bound a wide angle, as in "particular," line 15. 




(a) is heavy, with an oval narrowing toward the base, as in "humble," 
line 38. 

(b) is delicately formed. The oval widens toward the base, as in "be 
thankefull," line 15. 



64 THE Bl-LITERAL CIPHER 



c 

d 



e 



f 



g 



(a) is usually heavy, and has short curves, as in "can be,'' line i8. 
(/>) is well formed, with wide, open curves, as in "particular," line 15. 

(a) resembles the a of this font except, that it has, of course, an ascending 
stem. It is somewhat heavy and the last stroke is close, as in "dig- 
nity," line 21. 

(h) is also like the a of the same font, with light lines showing in the oval 
and in the final stroke, as in "plcas'd," line 24. 

(fl) is in two forms. In one, the line bisecting the loop makes a large 
angle withthe line of writing, while the curved base is wide and open, 
as in "tlwy out-living," line 26; in the other, the angle is less and the 
curve at the bottom is narrow and close, as in "be thatikefull," line 15. 

(b) is also in two forms. The angle between the bisecting line and the 
line of writing is large, but the curve is short, as in "servant," line 51; 
or, the angle is small and the lower curve wide, as in "we are," line 17. 

(a) is in several styles, each pairing with a ^-font letter of the same general 
characteristics, vet having a distinctive difference in the degree of 
inclination and in the cross-bar. A typical a-font / is in "for the 
many favors," line 15. 

(b) is usually delicate and well-made with the exceptions just mentioned, 
and the angle of inclination corresponds with that of other letters of 
this font. A typical b-font f is in "carefull," line 53. 

(a) has a prominent nose. The lower loop is somewhat pointed at the 
left side. The line bisecting the upper loop makes a large angle with 
the line of writing, as in "dignity greater," line 21. 

{b) is delicately made. The nose is usually a short horizontal line, but 
is sometimes hooked. The lower loop is wide at the left, and the 
angle made by the bisecting line through the upper loop is smaller 
than in the A-font g, as in "gods," line 48. 



h 



OF SIR FRANCIS BACON 65 

(a) has a loop rounded at the top, and commonly a tapering stem, as in 
"tluirikefiill," line 15. 

(i) is, for the most part, deHcately made. 7 he oval is narrow at the top, 
and the stem curves forward slightly at the base, as in "he not hav- 
ing," hne 26. 

(a) is rounded at top and bottom, while the stem is usually of uniform 
thickness, as in "writings," line 27. 

(h) begins with a hair line and has a delicately shaded stem, as in "thanke- 
fiill m our," line 15. 

(a) is somewhat heavy, with a close, narrow loop, as in "know," line 21. 

(b) is well made, and the loop is open and wide, as in "Booke," line 31. 

(a) is heavy and rounded at the base, as in "delight," line 52. 
(/>) is well made and pointed at the base, as in "places," line 20. 

(a) has loops nearly alike, both rounded and shaded at the top. The 
last stroke is close, as in "humbly," line 50. 

(b) is delicately formed, the hair line showing distinctly in the second 
loop and the last stroke, which is light and free, as in "humble," 
line 38. 



(a) like its corresponding capital letter, is an exception to the rule govern- 
// ing the font, having the light line that, in the r,,J, m, etc., character- 
izes the />-font. In other words, these are the letters the cipherer 
changed from one font to the other in making up this alphabet. The 
typical form is in "thankefull," line 15. 

(b) has a rounded curve shaded at the top, as in "falne," line 17. 



k 
I 



m 



66 THE BI-LITERAL CIPHER 



(a) is somewhat heavy and is narrow at the base like the oval of the small 
fj b in this font, as in "tivo," line 17. 



P 



Q 



r 



(h) is delicately made, and is somewhat wide and rounded at the base, 
like the oval of the b, as in "our ptirticular," line 15. 



(rt) like the capital P of this font, has the loop somewhat flattened at the 
base, as in "approach" line 47. 

(b) has the loop narrow and pointed at base. The stem has a distinct 
head and usually a slanting serif at the foot, as in "parent," line 29. 



(rt) has a round loop quite free from the stem at the top, as in "Exe- 
quiitor" line 27. 

(i) has a pointed loop joining the stem closely at the top, as in "prose- 
quuted" line 25. 

(rt) has a stem of uniform thickness and branches of equal height, as in 

"received," line 16. 

(J)) shows a stem decreasing in size toward the base. The right arm is 
often longer than the left, as in "are falne," line 17. 



(a) is in two forms, long and short. The former, like small/, is in a variety 
\ of styles, all pairing with corresponding letters in the ^-font. A 

typical letter is in "severall," line 33. The short s is somewhat heavy, 
the curve close at the top, as in "ours," line 53. 

(b) is also in two forms, long and short, and the long s varies greatly. 
The typical letter is delicate, showing the hair line at the top, as in 
"something," line 24. The h-^ont short s has a free, open curve at 
the top, as in "faults," line 53. 



OF SIR FRANCIS BACON 67 

(a) is somewhat rounded at the base, and the last stroke is close to the 
/ stem. The cross-bar is usually slightly heavier at the left, as in "the 

places," line 20. 

(b) is well formed and the last stroke is light and free. The cross-bar is 
somewhat heavier at the right, as in "study to be," line 15. 

(a) is like the inverted n of this font. The typical form is used in "study," 

U •'"' '5- 

(b) is narrower than the a-font letter and is also like an inverted n of the 
6-font. A typical letter is seen in "sustaine", line 20. 



V 

w 



X 



y 



z 



(a) is sharply pointed, as in "favors," line 16. 

{b) is rounded like the corresponding capital letter, as in "divers," line 18. 

{a) has the characteristics of the v in this font, as in "we study," line 15. 

{b) is narrower than the a-font letter, and the first stroke is shortened at 
the top, as in "two," line 17. 

(a) has the light line curved, as in "Exequutor," line 27. 
{b) has the light line straight, as in "Excellent," line 7. 

{a) has a narrow opening, the second line appearing to approach the 
other at the top, as in "many," line 16. 

(b) is wide, and open at the top, as in "study," line 15. 

{b) is delicately made and is placed at the angle characterizing the t-font 
letters, as in "enterprize," line 19. 



68 THE BI-LITERAL CIPHER 

///. Italic Digraphs. 



ae 



as 

a 



{aa) is the union of the simple form of a in font a with either simple form 
of e in the same font, as in "Sccrna Prima," Two Gentlemen of Verona, 
p. 32, Plate 2 1 A, No. I, and "Sc^iw quiiita," Merry Wives of 
Windsor, p. 56, Plate 21 a. No. 2. 

(fli) is the union of the simple form of a in font a with either simple form 
of e in font h, as in "Scirna Qiiarta," Two Gentlemen of Verona, 
p. 34, Plate 2 1 A, No. 3, and "Saena Prima," Comedy of Errors, 
p. 96, Plate 2 1 A, No. 4. 

{ha) is the union of the simple form of a in font b with either simple form 
of e in font a, as in "Sccena Prima," Tempest, p. i, Plate 2 1 A, 
No. 5, and ''Sicr/ia Secunda," Two Gentlemen of Verona, p. 21, 
Plate 21A, No. 6. 

(bb) is the union of the simple form of d in font b wiili either simple form 
of <> in the same font, as in "Scana Prima," Tempest, p. 10, Plate 
2IA, No. 7, and "Scirna T^rZ/rt," Tempest, p. 13, Plate 21A, No. 8. 

(oa) is the union of the simple form of a in font a with a short, round- 
topped s, as in "as before," line 33. 

(aa) is the union of the simple form of c in font a with a small / heavily 
shaded at the top. The two letters are linked together by a shaded 
line, as in "Actus," Othello, p. 348, Plate 2 IB, No. 9. 

(<3^) is the union of the simple form of c in font a with a small t whose 
stem is of uniform thickness throughout, as in "acted," line ^^. 

(ba) is the union of the simple form of c m font h with a small / heavily 
shaded at the top, as in "Actus," Two Gentlemen of Verona, p. 20, 
Plate 2 IB, No. 10. 

{bh) is the union of the simple form of c in font b with a small t whose stem 
is of uniform thickness throughout, as in "Actors," Tempest, p. 19, 
Plate 2 IB, No. II. 



fi 



fl 



IS 



OF SIR FRANCIS BACON 69 

{ha) is the union of two small /'s, one short and one long, as in "offer" 
line 38. 

{aa) is the union of the simple form of/ in font a with a small / somewhat 
rounded at the base, as in "fiiide," line 32. 

(fli) is the union of the simple form of/ in font a with a small / of nearly 
uniform thickness throughout, as in "first,'" i Hen. VI., p. loo, Plate 
2IB, No. 12. 

(ba) is the union of the simple form of / in font /> with a small / somewhat 
rounded at the base, as in " s el fe- profit," line 36. 

(bb) is the union of the simple form of/ in font h with a small ; of nearly 
uniform thickness, as in "/n^" i Hen. VI., p. 105, Plate 21B, No. 13. 

(ba) is the union of the simple form of / in font b with the simple form of/ 
in the same font, as in "of these trifles," line 22. 

(bb) is the union of the simple form of these letters in font b, as in "name 
them trifles," line 22. 

{aa) is the union of the simple form of ; in font a with a large-topped 
short s, as in "This hath done," line 32. 

{ab) is the union of the simple form of / in font a with a small-topped 
short s, as in "his Patrones," line 31. 

{ba) is the union of the simple form of; in font b with a somewhat angular- 
topped short s, as in "his Playes," line 38. 

{bb) is the union of the simple form of t in font b with a small-topped 
short s, as in "is a great difference," line 31. 



70 THE BI-LITERAL CIPHER 



// 



^h 



P 



(an) is the union of two small /'s somewhat rounded at the base, as in "/// 

fortune," line 17. 
(ah) is the union of the simple form of/ in font a with the simple form of 

the same letter in font b, as in the first "ff'fll," All's Well that Ends 

Well, p. 246, Plate 21B, No. 14. 

(ba) is the union of the simple form of/ in font b with the simple form of 
the same letter in font fl, as in "<//fl?7^^/z(//," line 15. 

(bb) is the combination of two small /'s in font b, as in "severall," line 33. 

(aa) is the union of a delicate well-formed long j- with a round-looped li, 

as in the second "raslmrsse," line 19. 
{ab) is the union of a delicate long s with a pointed li, as in the first "rash- 

nesse," line 18. 

(ba) is the union of a somewhat heavy long s with a round-looped h, as in 
"shew," line 53. 

(bb) would be the same as combination ba, except that the loop of the h 
would be pointed. 

(aa) is the union of a well-made long s with an / whose base is rounded, as 
in "considered," line 43. 

(bb) is the union of a somewhat heavy long s with an / of uniform thick- 
ness, as in "since," hne 23. 



SP 



(ba) is the combination of a somewhat heavy long J with a delicate, well- 
formed long p, as in "Shakespeare," L M. Poem, Plate 88, line i. 



(aa) is the union of two long s's with curved tops, as in "successe," 
^^ line 20. 

(bb) is the union of two long j-'s with straight tops, as in "rashnesse" 
line i8. 



St 



OF SIR FRANCIS BACON 71 

(aa) is the union of a heavily made long s with a small t sharply pointed 
at the base, as in ''Majestie," line 7. 

{ah) is the union of a heavy long s with a small / rounded at the base, as in 

"most Excellent," line 7. 

(ifl) is the union of a delicate, well-formed long s with a small / pointed at 
the base, as in "most divers," line 18. 

(bb) is the union of a well-made long s with a small < rounded at the base, 
as in "first," i Hen. VI., p. 107, Plate 2 IB, No. 15. 



72 THE BI-LITERAL CIPHER 

3. Second Folio, 1632. Two-Space Letters, Roman Type. 

/. Capitals. 



A 



B 
C 



D 



E 



(a) is not very broad but quite heavy, particularly in the first line as com- 
pared to "A" in the other font. The cross-bar also is thick, as in "As 
well," To the Reader, Plate 22, line 7. 

(i) is broad, clear, and well-made. The first line and cross-bar are both 
light, as in "william," Title Page, Plate 11, line i. 

(a) is somewhat narrow at the top. The line at the joining of the loops 
is very light, as in "Brasse," To the Reader, Plate 22, line 9. 

(/<) is nearly as broad at the top as at the base. The loop shows heavy 
lines throughout, as in "Booke," To the Reader, Plate 22, line 11. 

(a) is delicately shaded and shows straight lines at the commencement 
and termination, as in "comedies," Title Page, Plate 11, line 3. 

(b) is of nearly uniform thickness throughout,being only slightly shaded 
in the middle, as in "Comedies," Actors' Names, Plate 82, line 2. 

(rt) is a wide, well-made letter delicately shaded in the curve, which shows 
very thin lines at the top and bottom, as in "comedies," Title 
Page, Plate 11, line 3. 

(h) has lines of nearly uniform thickness, as it is shaded very slightly in 
the middle of the curve, as in "Dramaticke," Epitaph, Plate 87, line i. 

(a) is a well-made letter. The base line is not perfectly horizontal, but 
shows slight curves, as in "tragedies," Title Page, Plate 11, 
line 5. 

(/>) is not very large. The base line is perfectly level and uniform, as in 
"comedies," Title Page, Plate 11, line 3. 



F 



G 



H 



I 
L 

M 



OF SIR FRANCIS BACON 73 

(rt) is a delicate, well-made letter with level top, finished at the right by a 
short vertical line, as in "tymon of Athens," Plate 46. 

(h) is somewhat heavy. The top is finished by a slanting line, as in 
"Figure," To the Reader, Plate 22, line 2. 



(a) is well-made and distinctly shaded in the middle, as in "Graver," 
To the Reader, Plate 22, line 4. 

(b) is of nearly uniform thickness in the body. The upright is wide and 
the serif distinct, as in "tragedies," Title Page, Plate 11, line 5. 

(a) is well-made, but the cross-bar is heavy and the serifs somewhat thick, 
as in "His Face," To the Reader, Plate 22, line S. 

(b) is wide, rather delicate, the cross-bar very slender, as in " his- 
tories," Title Page, Plate 11, line 4. 



(a) is slender and delicate, not very tall, as the first "I" in "histories," 

Title Page, Plate 11, line 4. 

(b) is tall and well-made, as in "william," Title Page, Plate I i, line I. 



(a) is a somewhat delicate letter, very wide at the base, as in "william," 
Title Page, Plate 11, line I. 

(b) has a somewhat heavy base line, as in "Landing," R. III., Plate 43. 



(a) is a delicate letter, the final upright being noticeably thin, as in 
"WILLIAM," Title Page, Plate 11, line i. 

(b) has a heavy final upright, as in "comedies," Title Page, Plate II, 
line 3. 



74 THE Bl-LITERAL CIPHER 



N 

O 
P 



R 



S 



(a) is a well-made letter with uprights of uniform thickness, as in "Not 
on his Picture," To the Reader, Plate 22, line 11. 

(b) is slightly shaded in the first upright, as in "Noble," Ep. Ded., Plate 
13, line I. 

(a) is somewhat heavy. The lines are thick at the top and bottom of the 
letter, as in "Noble," Ep. Ded., Plate 13, line i. 

(b) is well-made, delicately shaded, with the upper and lower lines 
light, as in "comedies," Title Page, Plate 11, line 3. 

(a) is somewhat narrow at the top, and the letter itself is not large, as in 
"Print," To the Reader, Plate 22, line 8. 

(b) is a delicate letter, broad and straight at the top, as in "epilogue," 
Ep., 2 Hen. IV., Plate 91, line i. 

(a) is well-made, and has a slender queue, as in "tragedies," Title 
Page, Plate 11, line 5. 

(b) is broad at the top. The queue is shaded, as in "Reader," To the 
Reader, Plate 22, line 10. 

(a) is somewhat heavily shaded in the middle, but has delicate, graceful 
curves, as in "Shakespeare," To the Reader, Plate 22, line 3. 

(b) is somewhat angular and of nearly uniform thickness throughout, as 
in "most," Ep. Ded., Plate 13, line i. 



T(a) is a heavy letter with a thick cross-bar. One terminal is slanting, 
and the other vertical, as in "This Figure," To the Reader, Plate 22, 
line 2. 

(b) is slender and delicate. The cross-bar is thin, and the short vertical 
line at the right end appears well above the bar, as in "The," Ep. 
Ded., Plate 13, line I. 



V 



w 



a 



b 



d 



OF SIR FRANCIS BACON 75 

(a) is not very tall. The right limb is shorter than the left, as the first 
"V" in "Wit," To the Reader, Plate 22, line 6. 

(b) is tall and narrow. The second line is somewhat heavy, as the second 
"V" in "Wit," To the Reader, Plate 22, line 6. 

(a) is a somewhat heavy letter. A spur shows in the second line near 
the top, as in "Wherein," To the Reader, Plate 22, line 4. 

{b) is a wide letter, very delicate, as in "wili.iam," Title Page, Plate 
1 1, line I. 

//. Small Letters. 

(a) is narrow and blunt. The loop slants to the upright, as in "Shake- 
speare," To the Reader, Plate 22, line 3. 

(b) is broad, clear, and delicate. The upper line of the loop is nearly 
horizontal, as in "and," Title Page, Plate 11, line 4. 

(rt) is rather delicate. The loop curves downward to join the stem, as 

in "but," To the Reader, Plate 22, line 6. 
(b) is heavy. The lines are nearly horizontal at top and bottom of the 

loop, as in "but," To the Reader, Plate 22, line 11. 

(a) is shaded. It commences in an elongated dot, as in "could," To the 
Reader, Plate 22, line 6. 

(b) like the capital letter of this font, is somewhat heavy, as in "cut," 
To the Reader, Plate 22, line 3. 

(a) is a delicate letter. The loop shows thin, curved lines top and bottom, 
as in "had," To the Reader, Plate 22, line 4. 

(b) is somewhat heavy. The foot of the upright is turned up sharply, 
and the top of the loop is nearly a straight line, as in "drawne," To 
the Reader, Plate 22, line 6. 



\ 



76 THE BI-LITERAL CIPHER 

(a) is slightly irregular, the bar tending a very little downward, as in 

"Figure," To the Reader, Plate 22, line 2. 
(h) is not tall, and the cross-bar is horizontal, as in "Graver," To the 

Reader, Plate 22, line 4. 



f 



h 



1 



k 



(a) is slender and delicately shaded, as in "It was for gentle," To the 
Reader, Plate 22, line 3. 

(b) is heavy, and the cross-bar is not straight, as in "life," To the Reader, 
Plate 22, line 5. 

(fl) is not a heavy letter. The nose is wide at the end, as in "containing," 
Actors' Names, Plate 82, line 2. 

(b) is somewhat heavy, with a hooked nose, as in "Figure," Plate 22, 
line 2. 

(a) is somewhat heavy, and the loop is narrow, as in "This Figure," To 

the Reader, Plate 22, line 2. 
(i) is well-made, the loop wide and light, as in "Figure that," To the 

Reader, Plate 22, line 2. 

(a) is well-made; the dot is not placed high, and is usually delicate, as in 
"Figure," To the Reader, Plate 22, line 2. 

(b) is quite tall. The dot is large and is placed rather high, as in "This," 
To the Reader, Plate 22, line 2. 

(a) is clear, delicate, and somewhat wide, as in "Dramaticke," Epitaph, 
Plate 87, line i. 

(b) is somewhat narrow, and the lower part of the broken line is usually 
heavy, as in "Booke," To the Reader, Plate 22, line il. 



1 



m 



n 



o 



P 



OF SIR FRANCIS BACON 77 

(fl) is broad with a distinct serif at the base, as in "hfe," To the Reader, 
Plate 22, line 5. 

{h) is a slender, delicate letter, with a short yet distinct serif at the base, 
as in "admirable," Epitaph, Plate 87, line i. 

(a) is light and delicate, as in "Names," Actors' Names, Plate 82, line 5. 
{h) has a heavy final upright, as in "Comedies," Actors' Names, Plate 82, 
line 2. 

(a) is delicate, as in "and," Title Page, Plate li, line 4. 
{h) is a wide letter. The first upright is noticeably thicker than the other, 
as the second "n" in "cannot," To the Reader, Plate 22, line 10. 

(rt) is somewhat heavy. The lines are thick at the top and bottom of 
the letter, as in "Not on," To the Reader, Plate 22, line 11. 

{h) is well-made, delicately shaded, with the upper and lower lines light, 
as in "thou," To the Reader, Plate 22, line 2. 

{a) is well-made, although heavy. The loop is an ellipse, as in "sur- 
passe," To the Reader, Plate 22, line 8. 

{h) is delicate, and the loop is oval, as in "Shakespeare," To the Reader, 
Plate 22, line 3. 

(fl) is somewhat narrow, as in "Figure," To the Reader, Plate 22, line 2. 
ih) is somewhat broad at the top, and is a tall letter, as in "Shakespeare," 
To the Reader, Plate 22, line 3. 

(a) is in two forms, long and short. Both are delicate and well-made. 

The long s is seen in "Shakespeare," To the Reader, Plate 22, line 3; 

the short s, in "It was for gentle," To the Reader, Plate 22, line 3. 
(V) is in two forms, both heavy, as in "seest" and "his Wit," To the 

Reader, Plate 22, lines 2 and 6. 



78 THE BI-LITERAL CIPHER 

t(a) is wide-topped, rounded at the base, as in "cut," To the Reader, 
Plate 22, line 3. 

(b) is narrow at the base. The bar widens at the right end, as in "put," 
To the Reader, Plate 22, line 2. 



V 



u 



w 



(a) is not very tall. The right limb is shorter than the left, as in "Graver," 
To the Reader, Plate 22, line 4. 

(b) is tall and narrow. The second line is somewhat heavy, as in "Writ," 
To the Reader, Plate 22, line 9. 

(a) has the right limb more slender than the left, as in "Nature," To the 
Reader, Plate 22, line 5. 

(b) is tall, with limbs of uniform thickness as in "surpasse," To the 
Reader, Plate 22, line 8. 

(a) is heavy, as in "drawne," To the Reader, Plate 22, line 6. 

(b) is wide, and not at all heavy, as in "well," To the Reader, Plate 22, 
line 7. 

///. Digraphs. 

— ^ ^-^ (ba) is the union of the simple form of long s in the i-font, with the simple 
^ ^ form of the same in font a, as in "Brasse," To the Reader, Plate 22, 

line 7. 
(bh) is the union of two long letters of the i-font, as in "Brasse," To the 

Reader, Plate 22, line 9. 



^ \ (aa) is the union of long s in font a, with a small t in the same font, as in 
"seest," To the Reader, Plate 22, line 2. 



A 
C 



D 



E 



F 



OF SIR FRANCIS BACON 79 

4. Second Folio, 1632. Three-Space Letters, Roman Type, 
IN the Headings of the Shakespeare Plays. 

/. Capitals. 

(a) is a broad, well-made letter of light lines and thin cross-bar, as in 
"TRAGEDIES," Troylus and Cressida, plate 24A. 

{b) is wide and very heavy with a thick bar, as in "ALL'S," All's Well 
that Ends Well, Plate i^T,. 

(a) is a light letter commencing with a distinct straight line at the top, as 
in "Catalogue," Catalogue of Comedies, Plate 83, line i. 

(b) is heavy and ends bluntly at top and bottom, as in"Comedie," Comedy 
of Errors, Plate 26. 

(a) is a well-made letter, not heavily shaded, and having a thin straight 
upright, as in "TRAGEDIE," Troylus and Cressida, plate 24A. 

{b) has slightly pyramidal upright, is thicker at the top, and has a wide 
curve, as in "Death," Richard II.. Plate 37. 

(a) is a well-made letter with top and base extending equally and parallel, 
as the first "E" in "MEMORIE," L. Digges, Plate 7, line i. 

(b) is heavy and has the base further extended than the top. The base 
is usually slanting and shaded, as the second "E" in "MEMORIE," 
L. Digges, Plate 7, line i. 

(a) is a delicate, well-made letter with level top, as in "OF," Heading. 
Troylus and Cressida, plate 24A. 

(b) is somewhat narrow and heavy, as in "FOURTH," I Hen. IV., 
Plate 38. 



80 THE BI-LITERAL CIPHER 



G 



H 



I 



K 



L 



(a) Is a large, well-made letter, delicately shaded, commencing with a 
distinct line and finishing with a serif that projects well out on either 
side of the upright, as in "TRAGEDIE," Julius Caesar, Plate 47. 

{b) is heavy and uncouth, beginning bluntly and ending with a serif 
that projects on the left side only, as in "TRAGEDIE," Troylus 
and Cressida, plate 24A. 

(a) is wide, well-made, and has a delicate cross-bar, as in "THE," 
Cymbeline, Plate 49. 

(b) is heavy. The bar is often shaded, as in "THE," L. Digges, Plate 7, 
line I. 



(a) is delicate and straight, with short serifs, as in "MEMORIE," L. 
Digges, Plate 7, line i. 

(b) is somewhat heavy, the serifs proiecting well on either side, as in 
"TRAGEDIE," Romeo and Juliet, Plate 45. 

(a) is characterized by the lightness of the lower part of the broken line 
at the right, as in "King," 3 Hen. VI., Plate 42. 

(b) has a thick, heavy line in the lower part at the right, as in "King." 
I Hen. VI., Plate 40. 

(a) is delicate and well-made. The base line is short, ending in a vertical 
"toe," as the first "L" in "ALL'S," All's Well that Ends Well, Plate 

33- 

(b) has broad, sweeping base, usually shaded from the slanting terminal 
line, as in "Lines," Hugh Holland, Plate 85, line i. 



M 



N 
O 



P 
R 



S 



OF SIR FRANCIS BACON 81 

(fl) is delicate and well-made. I he first upright is very thin and nearly 
uniform throughout, as in "MEMORIE," L. Digges, Plate 7, line i. 

{h) is heavy, the outer lines slanting somewhat and distinctly shaded, as 
in "Merry," Merry Wives of Windsor, Plate 25. 

(b) shows a heavily-shaded line for the first upright and a somewhat 
thick line for the second upright, as in "Night," Twelfth Night, 
Plate 34. 



(a) has light lines at top and bottom, shaded slightly at one side, as 
in "MEMORIE," L. Digges, Plate 7, line i. 

{b) is somewhat heavily shaded, and stands nearly upright, as in "TO," 
L. Digges, Plate 7, line i. 



(a) is somewhat narrow, with loop drooping at the top, as in "Part," 
2 Hen. IV., Plate 39. 

(b) is broad and thick throughout, as in "Part," i Hen. IV., Plate 38. 



(a) is delicate and well-made, with slender queue, as in "MEMORIE," 
L. Digges, Plate 7, line I. 

(b) is characterized by a blunt heavy queue, as in "TRAGEDIE," 
Troylus and Cressida, plate 24A. 

(a) is a delicate letter, with a slender line at top and bottom, as in "Shake- 
speare," Actors' Names, Plate 82, line i. 

(b) is usually heavy and blunt, as in "ALL'S," All's Well that Ends 
Well, Plate 33. 



82 THE BI-LITERAL CIPHER 



T 



V 



w 

Y 



a 



b 



(a) is a slender letter. The top is finished by a short vertical line at the 
right, and a slanting line at the left, as in "Tale," Winter's Tale, 
Plate 35. 

(b) is somewhat sturdy. 1 he bar at the top is finished by serifs showing 
above and below the bar, as in "The," Winter's Tale, Plate 35. 

(a) is delicate and rather wide. The right side becomes almost a hair 
line at the base, as in "Venice," Merchant of Venice, Plate 30. 

{b) has the second line heavily shaded from the top, and the letter itself 
is narrow, as in "Vpcn," Effigies, Plate 86, line i. 

(a) is wide with delicate lines. The second line has a spur near the top, 
as in "Workes," Actors' Names, Plate 82, line i. 

(a) is a delicate, well-made letter with a spreading top, as in 
"TRAGEDY," Cymbeline, Plate 49. 

(b) is a somewhat heavy letter. The second line is shaded at the top, as 
in "TRAGEDY," Hamlet, Plate 48. 

//. Sfiiall Letters. 

(a) is somewhat wide and very delicate, as in "William," Actors' Names, 
Plate 82, line i. 

(h) is wide and very heavy, as in "Shakespeare," Actors'Names, Plate 82, 
line I. 

(a) is a delicate, well-made letter with an elliptical loop, as in "beloved," 
Ben Jonson's Poem, Plate 89, line i. 

(b) is somewhat heavy with an oval loop, as in "Labour's," Love's 
Labour Lost, Plate 28. 



OF SIR FRANCIS BACON 83 

(a) is delicate and begins with a light dot, as in "Second," 2 Hen. IV., 

C ^'^^^ 39- 

(b) is heavy and ends bluntly at top and bottom, as in "Much," Much 
Ado about Nothing, Plate 27. 



d 



f 

g 



h 



(a) has thin, straight ascending line, and the loop is slightly shaded, as 
in "and," Hugh Holland, Plate 85, line i. 

(b) has shaded top, thick straight foot, and an oval loop as in "and," 
R. II., Plate 37. 

(a) is delicate, the straight bar tending only slightly downward, as in 
"Prologue," Prol., Tro)l. and Cress., Plate 92, line i. 

(h) is narrow and heavy. The bar tends distinctly downward, as in 
"Effigies," Effigies, Plate 86, line i. 

(a) is slight and has a wide curve at the top, as in "of," Ben Jonson's 
Poem, Plate 89, line i. 

(b) is somewhat narrow and heavy, the top a narrow curve, as in "of," 
Taming of the Shrew, Plate 32. 

(a) has a plain straight nose and slanting ovals, as in "Effigies," Effigies, 
Plate 86, line i. 

(^) has a short nose. The line bisecting the upper oval would be nearly 
vertical, as in "Prologue," Prol., Troyl. and Cress., Plate 92, line I. 

(a) is wide and well-made, as in "The," Actors' Names, Plate 82, line i. 
(h) is clumsy, as in "Worthy," I. M. S. Poem, Plate go, line i. 

(a) is slight and well-formed, as in "Effigies," Effigies, Plate 86, line i. 
{b) is somewhat heavy and the dot is placed slightly toward the left, as in 
"Nights," M. N. D., Plate 29. 



84 THE BI-LITERAL CIPHER 



k 

1 



m 



n 



o 



P 



r 



(a) is similar to the a-font capital, all the lines being light and delicate, 
as in "Workes," Actors' Names, Plate 82, line I. 

(a) is slender and delicate, as in "Coriolanus," Coriolanus, Plate 44. 

(b) is somewhat heavy, and slightly pyramidal, as in "Prologue," Pro!., 
Tro\'l. and Cress., Plate 92, line i. 

(a) is light and delicate, as in "memory," Ben Jonson's Poem, Plate 89, 

line I. 
(i) is heavy, and shows rounded loops. The middle upright is thicker 

than either of the others, as in "my," Ben Jonson's Poem, Plate 89, 

line I. 

(a) is delicate and well-made, as in "Vpon," Effigies, Plate 86, line i. 

(b) is heavy with rounded loop, as in "On," I. M. S. Poem, Plate 90, 
line I. 

(a) is very light and delicate, as in "worthy," Effigies, Plate 86, line I. 

(b) shows heavy lines at top and bottom, as in "Vpon," Effigies, Plate 86, 
line I. 

(a) is somewhat narrow, with loop drooping at the top, as in "Vpon," 
Effigies, Plate 86, line i. 

(b) is heavy with rounded loop, as in "Vpon," Hugh Holland, Plate 85, 
line I. 

(a) is slender and well-made, as in "Workes," Actors' Names, Plate 82, 
line I. 

{b) is heavy and narrow, as in "worthy," Effigies, Plate 86, line I. 



OF SIR FRANCIS BACON 85 

(a) is a delicate letter, with slender lines at top and bottom, as in"Workes," 
^ Actors' Names, Plate 82, line i. 

(b) is heavy, as in "Comedies," Catalogue of Comedies, Plate 83. 



(a) is delicate with light bar, as in "worthy," Effigies, Plate 86, line I. 

(b) is a somewhat heavy letter with the cross-bar widened at the right, as 
in "worthy," I. M. S. Poem, Plate 90, line i. 



(a) is delicate and rather wide. The right side becomes almost a hair 
y line at the base, as in "beloved," Ben Jonson's Poem, Plate 89, 

line I. 

(b) is narrow and heavy, as in "Loves," Love's Labour Lost, Plate 28. 

(a) is a well-made letter, somewhat wide and slender, as in "Catalogue," 
Catalogue of Comedies, Plate 83, line i. 

(b) is a clumsy letter, as in "you," Twelfth Night, Plate 34. 

(a) is wide with delicate lines. The second line has a spur near the top, 
as in "worthy," Effigies, Plate 86, line i. 

(b) is somewhat heavy, as in "Shrew," Taming of the Shrew, Plate 32. 



u 



w 



y^ (a) is narrow, and has peculiar curved ends to the second line, as in 
"Sixt," 2 Hen. VI., Plate 41. 



y 



(a) is delicate and wide-topped, as in "worthy," Effigies, Plate 86, line i. 

(b) is a somewhat heavy letter. The second line is shaded at the top, as in 
"you," As You Like It, Plate 31. 



86 THE BI-LITERAL CIPHER 



fi 

St 



///. Digraphs. 

(ah) is the union of a small / of slightly pyramidal stem with the simple 
form of z in font b, as in "Effigies," Effigies, Plate 86, line i. 

is the union of two delicately-made letters, presumably of the same 
font, as in "Master," I. M. S. Poem, Plate 90, line i. 



A 



B 



C 



D 



E 



OF SIR FRANCIS BACON 87 

5. Second Folio, 1632. Roman Type in L. Digges Poem, Etc. 

/. Capitals. 

(a) shows shading toward the base of the left hmb. The cross-bar is 
placed quite high, as in "Actors," Names of Actors, Winter's Tale, 
page 303- 

(b) is a heavy letter showing a particularly heavy bar, as in "Antenoni- 
dus," Prol., Troil. and Cress., Plate 92, line 18. 

{a) is rather small. The first limb is shaded toward the base, as in "Bed," 
Ep. Ded., Plate 13, line 11. 

(b) is somewhat broad and heavy. The stem, often wide, is of uniform 
thickness throughout, as in "Britaines," Hugh Holland, Plate 85, 
line 5. 

(a) shows no angle in the base. The top is a thin, clear curve, as in 
"Chamber," Ep. Ded., Plate 13, line 11. 

(b) begins and ends with short vertical lines that give the terminals an 
angular appearance. The letter is usually heavy both top and bottom, 
as in "Castle," Ep.. 2 Hen. IV., Plate 91, line 24. 

(a) is a heavy letter having characteristics of the Wont, and is, in fact, an 
example of the exchanged letters, as in "Digges," L. Digges Poem, 
Plate 7, line 26. 

{b) has the pyramidal stem and broad loop of the a-font, as explained 
above, as in "Dardan," Prol., Troil. and Cress., Plate 92, line 17. 

(a) is rather narrow, the top and base extending no farther than the 
middle bar, as in "Epilogue," Ep.. Hen. VIII., page 232. 

(h) is broad and heavy. The top and base extend noticeably farther than 
the middle bar, as in "The," Ep.. Hen. VIII., page 232. 



88 THE BI-LITERAL CIPHER 



F 



G 
H 

I 



K 



L 
M 



(a) like the capital "E" of this font, is narrow, the top extending no 
farther than the middle bar, as in "FalstafFe," Ep.. 2 Hen. IV., Plate 
91, line 23. 

(b) is broad at the top reaching well out beyond the middle bar, as in 
"France," Ep.. 2 Hen. IV., Plate 91, line 23. 

(a) is a well-made letter. The top and base line are rather thin and clear, 
as in "Epilogue," Ep.. Hen. VIII., page 232. 

(a) is a broad, clear letter. The cross-bar slants downward slightly 
toward the right, as in "Shakespeare," L. Digges Poem, Plate 7, 
line 4. 

(a) is a clear, well-made letter with equal serifs, as in "lohn," Ep.. 2 Hen. 

IV., Plate 91, line 22.. 
{b) is a slender letter with a slight irregularity in the lower serif, as in 

"luliet," L. Digges Poem, Plate 7, line 19. 

(a) is somewhat delicate. The upper line at the right is very slender, as 
in "Katherine," Ep.. 2 Hen. IV., Plate 91, line 23. 

(/)) is not very wide and is somewhat heavy, having a thickened upper line 
at the right, as in "Knights," Ep. Ded., Plate 13, line li. 

(a) is a broad letter. The base shows the wave line, as in "Epilogue," 
Ep. Hen. VIII., page 232. 

(b) is usually somewhat narrow and heavy with shaded base line, as in 
"Life," Hugh Holland, Plate 85, line 17. 

(rt) is not heavy and is very plain, as in "Menelaus," Prol.. Troil. and 
Cress., Plate 92, line 10. 



N 



O 
P 



s 

T 



V 
X 



OF SIR FRANCIS BACON 89 

(a) is a broad, clear letter characterized by an unshaded upright at the 

right, as in "Noble," Ep. Ded., Plate 13, line 11. 
(Zi) is not very large. The second upright is shaded at the top as in 

"Names," Actors' Names, Winter's Tale, page 303. 

(a) is a well-made letter, the axis slightly inclined to the left, as in "Order," 

Ep. Ded., Plate 13, line 11. 
(i) is somewhat heavy and is broadened at the base, as in "Originall," 

Actors' Names, Plate 82, line 4. 

(a) is rather large and well-made, as in "PhcEbus," Hugh Holland, 
Plate 85, line 9. 

{b) is rather small and heav)', as in"Priams," Prol., Troil. and Cress., 
Plate 92, line 16. 

(13) has broad smooth curves above and below, as in "Stratford," L. 
Digges Poem, Plate 7, line 7. 

(b) is a narrow letter beginning and ending in short vertical lines, as in 
"Shake-speare," L. Digges Poem, Plate 7, line 24. 

(a) is a broad, somewhat slender letter, as in "Thespian," Hugh Holland, 
Plate 85, line 8. 

(b) is narrow and heavy, as in "Troien,'Trol.. Troil. and Cress., Plate 92, 
line 17. 

(b) is long and narrow, the second limb somewhat thickened, as in 
"Epilogve," Ep., Hen. VIII., page 232. 

(a) Only one "X" has been found. It belongs to font a, and is seen in 
"Exit," I. M. Poem, Plate 88, line 8. 



90 



THE BI-LITERAL CIPHER 



Y 



a 



b 



d 



f 



(a) is somewhat broad and well-made, as in "Yomans," L. Digges Poem, 
Plate 7, line 2i. 

//. Small Letters. 

a) is rather narrow and shows a slight upward turn at the lower end of 
the stem, as in "Chamber," Ep. Ded., Plate 13, line 11. 

//) is broad and shows a distinct horizontal foot, as the first "a" in 
"Shake-speare," L. Digges Poem, Plate 7, line 4. 

a) has a well-rounded loop. The serif at the top of the stem is level, as 

in "Chamber," Ep. Ded., Plate 13, line 11. 
h) has a loop showing a level line at the top where it joins the stem. 

The stem is usually heavy, as in "Noble," Ep. Ded., Plate 13, line 11. 

a) has a well-curved base, as in "Nuncius," Hugh Holland, Plate 85, 
line 15. 

a) is somewhat heavy, the loop well rounded at the top where it joins 
the stem, as in "Old," Ep.. 2 Hen. IV., Plate 91, line 24. 

b) is well-made. The curve in the loop is very slight where it joins the 
stem, as in "Antenonidus," Prol.. Troil. andCress., Plate 92, line 18. 

a) is narrow, sometimes not very well made, as in "Falstaffe," Ep.. 
2 Hen. IV., Plate 91, line 23. 

b) is broad and well-rounded, as in "Castle," Ep.. 2 Hen. IV., Plate 91, 
line 24. 

a) has a slightly curved top; it is rather delicate and well-made, as in 
"Stratford," L. Digges Poem, Plate 7, line 7. 

b) is narrow and clumsy, the head very drooping, as in "for," page 419, 
next to last line. 



h 



k 



1 



m 



OF SIR FRANCIS BACON 91 

(a) is a well-made letter having a straight nose, as in "Knights," Ep. 

Ded., Plate 13, line 1 1. 
{b) is narrow and heavy, as in "Digges," L. Digges Poem, Plate 7, line 26 . 

(a) is somewhat broad. The final serif slants downward toward the 
right, as in "Katherine," Ep.. 2 Hen. IV., Plate 91, line 23. 

(b) is not very wide. The serifs are quite level at the base, as in 
"Thespian," Hugh Holland, Plate 85, line 8. 

(a) is a well-m.ade letter showing a slight widening at the base, as in 
"Katherine," Ep.. 2 Hen. IV., Plate 91, line 23. 

(b) is somewhat broad at the top and has a large oval dot, as in"Iuliet," 
L. Digges Poem, Plate 7, line 19. 

(a) is delicate, the lower line at the right shaded and without a serif, as 
in "Shake-speare," L. Digges Poem, Plate 7, line 4. 

(b) is a clear, v/ell-made letter. The lower line at the right is of uniform 
thickness and is finished with a serif, as in "Shake-speare," L. Digges 
Poem, Plate 7, line 24. 

(a) is clear and well-formed with a distinct serif at the base, as in "Fal- 

stafFe," Ep., 2 Hen. IV., Plate 91, line 23. 
(h) is shaded at the top and has an indistinct serif at base, as in "Noble," 

Ep. Ded., Plate li, line 11. 

(a) has the second and third downward strokes somewhat heavy, as in 
"Yomans," L. Digges Poem, Plate 7, line 21. 

(b) is well-made, the loops well-rounded, the serif at the top of the first 
downward stroke distinct and clear, as in "Romeo," L. Digges Poem, 
Plate 7, line 19. 



92 THE BI-LITERAL CIPHER 

(a) is like one half of small ni in this font, as in "Katherine," Ep., 2 Hen. 
1 1 IV., Plate 91, line 23. 

(i) is like one half of small m in this font, as in "lohn," Ep.. 2 Hen. IV., 
Plate 91, line 22. 



o 



p 



r 



(a) is the capital in miniature. It is a well-made letter, the axis slightly 
inclined to the left, as in "lohn," Ep.. 2 Hen. IV., Plate 91, line 22. 

(i) is the capital in miniature. It is somewhat hea\y and is broadened 
at the base, as in "Yomans," L. Digges Poem, Plate 7, line 21. 



(a) is clear and delicate, the loop rounding noticeably at the base, as in 
"Shakespeares," Hugh Holland, Plate 85, line 5. 

(^) is somewhat heavy; the loop is very slightly rounded at the base, as 
in "Thespian," Hugh Holland, Plate 85, line 8. 

(a) is clear and well-made, as in "Katherine," Ep.. 2 Hen. IV., Plate 91, 
line 23. 

(i) is somewhat heavy and broad at the top, as in 'Chamber," Ep. Ded., 
Plate 13, line 11. 

(a) is broad and well-cur\ed, as in "Shakespeares," Plate 85, Hugh 
Holland, line 5. 

(J) has narrow close curves, as in 'Britaines," Hugh Holland, Plate 85, 
line 5. 

There is also a long j in either font. \Micn the curve bends sud- 
denly downward the letter belongs to font a, as in "Shake-speare," 
L. Digges Poem, Plate 7, line 24. A wide smooth cune characterizes 
the long .<■ of font h, as in "Shake-speare," L. Digges Poem, Plate 7, 
line 4. 



OF SIR FRANCIS BACON 93 

(a) is rather large and has a horizontal base, as in "Britaines," Hugh 
J^ Holland, Plate 85, line 5. 

(b) is usually heavy. The stem curves upward at the base, as in "luliet," 
L. Digges Poem, Plate 7, line 19. 

(a) is well-made, as in "luliet," L. Digges Poem, Plate 7, line 19. 
\J^ (b) is large and long, looking somewhat clumsy, as in "Nuncius," Hugh 
Holland, Plate 85, line 15. 



///. Digraphs. 

(aa) is the union of a simple form of c in font a with a long t having the 
characteristics of this letter in the same font, as in "Actors," Names of 
Actors, Winter's Tale, page 303. 

{ba) is the union of the simple forms of these letters in respective fonts, as 
in "Falstaffe," Ep.. 2 Hen. IV., Plate 91, line 23. 

(ab) is the union of the simple forms of these letters in their respective 
fonts, as in "first," Actors' Names, Plate 82, line 4. 

{ab) is the union of the simple forms in their respective fonts, as in "Origi- 
nall," Actors' Names, Plate 82, line 4. 



St 



{aa) is the union of long s, with a prolonged t having the characteristics of 
the simple forms of these letters in font a, as in "Castle," Ep.. 2 Hen. 
IV., Plate 91, line 24. 

(ba) is the union of a slender delicate long s, with a prolonged t, having the 
characteristics of the a-font letter, as in "most," Ep. Ded., Plate 13, 
line II. 



94 THE BI-LITERAL CIPHER 

6. Second Folio, 1632. Small Roman Type. 

Note. — Unless otherwise designated, these letters are found in the Actors' 
Names, 2 Henry IV., Plate 93. 



A 




C 

D 

E 
F 



I. Capitals. 

(a) is well-made, the first limb light and clear; light cross-bar, as in 

"Arch," Line 11. 
(h) is somewhat heavy, and shows shading toward the base of the left 

limb. 

(a) is light and clear, but the shading shows plainly in the base of each 
loop, as in "Bishop," line 11. 

(b) is somewhat heavy. The shading is in the middle of the loops, as in 
"Bardolphe," line 20. 

(a) is thin at the extremities and distinctly shaded at the middle of the 
curve, as in "Clarence," line 9. 

(b) is heavy, being particularly thick at the extremities, and showing dis- 
tinct angles or corners, as in "Colevile," line 17. 

(a) is a large, well-made letter, with a level base, as in "Drawers," line 26. 

(b) is somewhat heavy. The upright is short, requiring a bend in the 
base line to connect it with the stem, as in "Doll," line 29. 

(a) has a level base line and light middle bar, as in "Epilogue," line 30. 

(a) is a clear, distinct letter, the bar in the middle extending as far to the 
right as the top, as in "Feeble," line 31. 

(b) has a heavy bar at the top; the middle bar is slightly shorter, as in 
"Fift," line 6. 



G 



H 
I 

K 
L 



M 



N 



OF SIR FRANCIS BACON 95 

(a) is like the capital C of this font in the form of the top and shading of 

the curve, as in "Gowre," line 2i. 
(/>) has the characteristics of capital C in this font, showing thickened 

lines and marked angles, as in "Groomes," line 28. 

(a) is a well-made letter with a light cross-bar, as in "Hastings," line 13. 
(h) has the left limb heavier than the right and a thick cross-bar, as in 
"Hostesse," line 28. 

(a) is well-made, with the upper serif particularly long and clear, as in 
"Irregular," line 20. 

(b) is often heavy and clumsy, with irregular serifs, as in "Justice," line 23. 



(a) is a delicate, well-made letter, broad and open-looking, as in "King," 
line 6. 

(b) is narrow and heavy, as in "King," line 5. 



(a) is a well-made clear letter, with a slight, delicate base line, as in 
"Lancaster," line 7. 

(b) is somewhat heavy and shows a thickened base line, as in "Lord 
Bardolfe," line 14. 

(a) shows very light and delicate lines, the heavy second and fourth 

strokes being comparatively narrow and slight, as in "Rvmovr," 
line 4. 

(b) is heavy; the first stroke is shaded toward the base and the last line 
thick, as in "Mouldie," line 28. 

(a) is light and broad, as in "Northumberland," line 10. 

(b) is a narrow, close letter, as in "And," Ep. Ded., Plate 13, line 2. 



96 THE BI-LITERAL CIPHER 



O 
P 

Q 

R 

S 
T 

V 
W 



(a) is shaded across the top and on both sides, as in "Opposites," line 13. 

(b) has slender lines at the top and bottom, the axis much inclined to the 
left, as in "Rvmovr," line 4. 

(a) is large and well-formed, as in "Presentor," line 4. 

(b) is not very broad and is quite heavy, as in "Prince," line 6. 

{b) is a heavy letter much inclined to the left and having a thick queue, 
as in "Quickly," line 28. 

(a) is a slight, well-made letter, rather broad at the base as in "Rvmovr," 

line 4. 
{b) is somewhat narrow and heavy, as in "Lords," Ep. Ded., Plate 13, 

line 13. 

(a) is a slender, delicate letter, as in "Sonnes," line 8. 
{b) is a heavy letter, as in "Surrey," line 20. 

(a) is rather slender, having a thin line at the top, as in "Teate Sheets," 
line 29. 

(b) is a heavy letter with a pyramidal stem and thick top, as in "Travers," 
line 15. 

(a) is delicately formed, the right limb light, as the first "V" in 
"Rvmovr," line 4. 

(b) has a heavy right limb, as the second "V" in "Rvmovr," line 4. 

(a) is a broad, well-made letter, as in "Wart," line 30. 
{b) has heavy second and fourth limbs, as in "Widdow," line 27. 
Note. — A dot in this letter makes it a-font. 



Y 
Z 



a 



b 



d 



f 



OF SIR FRANCIS BACON 97 

(a) is delicately formed, quite wide at the top, as in "Yorke," line ii. 

(b) Only one Z was used. This has the characteristics of the ^-font 
letters, and is placed in that alphabet. The dot makes it belong to 
the a-font. It is found in the word "Pointz," line i8. 

//. Small Letters. 

(a) is broad and shows a horizontal line at the end of the last stroke, as 

in "Harecourt," line 22. 
{b) is narrow. The last stroke curves upward slightly at the base, as in 

"Mowbray," line 12. 

(a) has a large loop rounding into the stem, as in "Mowbray," line 12. 

(b) is somewhat heavy. The rounding of the loop is scarcely percep- 
tible, as in "Feeble," line 31. 

(a) is somewhat large and well-curved, as in "Prince," line 6. 

(b) is shorter at the top than at the base, as in "Gloucester," line 8. 

(a) has a large loop, well-rounded at the top, as in "Beadles," line 27. 

(b) is heavy, and shows very slight curvature at the top of the loop, as in 
"Shadow," line 29. 

(a) is large and well-rounded, as in "Prince," line 6. 
{b) is narrow at the top and the lower curve not well rounded, as in 
"Crowned," line 6. 

(a) shows but a slight curve, if any, at the top, and the bar is light, as in 
"afterwards," line 6. 

(b) has a drooping top and a heavy, wedge-shaped bar, as in "Chiefe," 
line 23. 



98 THE BI-LITERAL CIPHER 

(fl) has a sharp angle in the line attaching the lower loop; the shading of 
the upper loop corresponds to its capital, and the nose is short and 
oblique, as in "Hastings," line 13. 

(/;) has a blunt nose, the upper loop thickened at the top, the line joining 
the loops curved rather than angular, as in "against," line 13. 



h 



1 



k 
1 



m 
n 



(a) has the second stroke curved to the stem at a point slightly above the 
center, as in "Shadow," line 29. 

(b) is rather heavy. The second stroke leaves the upright at a high 
point, and shows only a very slight curve, as in "Fourth," line 5. 

(a) is delicate and well-made, with a slanting top and level base, as in 
"Fift," line 6. 

(b) is somewhat heavy with a serif not well-placed, as in "King," line 5. 

Note. — "j" in "Serjeants," line 27, belongs to this font. 

(a) is clear and open, as in "Warwicke," line 18. 

(b) is somewhat narrow, and the top of the stem shows no serif, as in 
"Quickly," line 28. 

(a) is a well-made letter, the stem of nearly uniform thickness throughout, 
as in "Bardolfe," line 14. 

(b) is heavier at the top than at the lower end, as in "Silence," line 25. 

(a) is clear and well-made, as in "Groomes," line 28. 

(b) is heavy and flat-topped, as in "Northumberland," line 10. 

(a) is light and broad, as in "Prince," line 6. 

(b) is heavy and not well-formed, as in "King," line 5. 



o 

p 



r 



u 



w 



y 



OF SIR FRANCIS BACON 99 

(a) is shaded like the capital, as in "Both," line 24. 

(b) is the capital in miniature, as in "Gloucester," line 8. 

(a) is broad, and has a very round loop, as in "Opposites," line 13. 

(b) is heavy and not very broad, as in "Bardolphe," line 20. 

(a) is slight, well-made, and quite broad at the top, as in "Presentor," 
line 4. 

(b) is narrow and heavy, as in "Travers," line 15. 

(a) is well-made and rather wide, as in "Hastings," line 13. 

(b) is very narrow at the base, as in "Sonnes," line 8. 

(a) is a light letter having a short horizontal line at the base, as in "after- 
wards," line 6. 

(b) is somewhat heavy and the base curves upward, as in "Fift," line 6. 

(a) is the capital in miniature. It is delicately formed, the right limb 
light. There is also the form of the ordinary u, well-made and clear, 
as in "Gloucester," line 8. 

(b) is the capital in miniature. It has a heavy right limb. Small u is 
heavy and clumsy, as in the first "Fourth," line 5. 

(a) is delicate and well-formed, as in the first "Shallow," line 24. 

(b) is heavy and clumsy like the capital, as in "Drawers," line 26. 

(a) is a well-made letter, as in "Mowbray," line 12. 
{b) is narrow and heavy, as in "Country," line 30. 



100 THE BI-LITERAL CIPHER 

7. Second Folio, 1632. Small Italic Type. 
/. Capitals. 



A 



B 



C 



D 



(a) is plain, the limbs finished by straight serifs, as in "And," Love's 
Labour Lost, page 144 right, Plate 97, line 2. 

(i) has the left limb curved upward at the base, usually terminating in a 
dot, as in "And," Love's Labour Lost, page 144 right, Plate 97, 
line 21. 

{a) is plain, resembling the capital B in Roman type, except that it is 
inclined toward the right, as in "Braggart," Love's Labour Lost, 
page 144 left, line 54. 

(b) has a broad top extending well to the left and curved at the extremity, 
as in "Brag," Love's Labour Lost, page 144 right, line 7. 

(fl) has a rounded back, and shows an angle or corner at the right of the 
base, as in "Cuckow," Love's Labour Lost, page 144 right, Plate 97, 
line 5. 

NoTE.-^It is probable that the long C with a short head and 
distinct drooping dot, belongs also to this font, as in "Cant.," Hen. 
v., page 69 right, line i below "Actus primus. Scana Prima." 

(b) is in two forms long and short, the long C being much more frequently 
used. It is characterized by a long curve at the top, as in the second 
"Cuckow," Love's Labour Lost, page 144 right, Plate 97, line 8. 
Short C is usually delicate, the lower curve slight and showing no 
angle, as in the second "Cuckoiu," Love's Labour Lost, page 144 
right. Plate 97, line 17. 

(a) is plain and easily recognized, as in "Dicke," Love's Labour Lost, 

page 144 right, Plate 97, line 21. 
{b) is broad at the top and ends at the left in a downward curve, as in 

"Dasies," Love's Labour Lost, page 144 right, Plate 97, line i. 



E 



F 



G 
H 



I 



K 



OF SIR FRANCIS BACON 101 

{a) is plain and angular, resembling the Roman letter except in inclina- 
tion, as in "Enter," Love's Labour Lost, page 144 left, line 54. 

(b) is like a script letter formed of two nearly equal curves, as in "Enter," 
Love's Labour Lost, page 144 right, line 9. 

(a) is rather long at the top, the stem usually pyramidal, as in "Foot," 
Henry V., page 79 right, Plate 96, line 50. 

(b) is somewhat short and slight at the top contrasting sharply with the 
stem, as in "Ftngres," Henry V., page 79 right, Plate 95, line 13. 

(a) is a plain letter like the Roman, except in position, as in "Gentle- 
woman," Henry V., page 79 left, Plate 95, line 2. 

(b) is like the «-font letter with a queue appended, as in "Governour," 
Henry V., page 79 left, line 43. 

{a) is somewhat heavy and awkward, as in "Honneur," Henry V., page 

79 right, Plate 96, line 52. 
(b) is a well-made letter, somewhat broad and very clear, as in "Hand," 

Henry V., page 79 right, Plate 95, line 9. 

(fl) is a distinct, well-made letter, but usually somewhat heavy, as in 
"le," Henry V., page 79 right, Plate 95, line 25. 

{b) is somewhat irregular, sometimes heavy with unlike serifs, sometimes 
only differing from the o-font letter in size and delicacy, as in "//," 
Henry V., page 79 right, Plate 95, line 27. 

(a) is somewhat clumsy and is marked by a close, heavy queue, as in 
"Kath.," Henry V., page 79 right, Plate 96, line 58. 

{b) is delicate and well-made. The queue is quite slender, as in "Kath.," 
Henry V., page 79 right, Plate 95, line 9. 



102 THE BI-LITERAL CIPHER 



L 

M 



N 




P 



^ 



(a) has a level base line, often somewhat heavy, as in "Lc" Henry V., 
page 79 right, Plate 95, line 11. 

(U) is delicately formed, the base showing a slight wave line, as in "La," 
Henry V., page 79 right, Plate 95, line 13. 

(fl) is a plain letter resembling the Roman except in position, as in "Ma- 
dame," Henry V., page 79 right, Plate 95, line 20. 

{h) has the left limb long and curved upward at the base. At the top a 
line is appended that curves downward, to correspond with the tops 
of 5 and P of this font, as m"Madame," Henry V., page 79 right, 
Plate 96, line 7,7,. 

(rt) is a plain letter to correspond with the capital M of this font, as in 
"Nayles," Henry V., page 79 right, Plate 95, line 18. 

(b) has the connecting line between the two uprights extended in a queue, 
as in "Nayles," Henry V., page 79 right, Plate 95, line 17. 

(a) is somewhat pointed and shows heavier shading at the left than at the 
right, as in "Oity," Henry V., page 79 right, Plate 96, line 37. 

{b) is widely rounded at the base and the shading is nearly alike on both 
sides, as in "0," Henry V., page 79 right, Plate 95, line 31. 

(a) is a plain letter corresponding to the capital B of this font, as in 
"Parsons," Love's Labour Lost, page 144 right, Plate 97, line 30. 

(h) has the top extended far out at the left terminating in a downward 
curve, as in "Ploiighmens," Love's Labour Lost, page 144 right, 
Plate 97, line 11. 

(a) is like an enlarged figure 2, as in "Que.," Hamlet, page 292 left, 
line 13. 

{b) is like the capital of this font with a queue appended, as in "Quee.," 
Hamlet, page 292 left, line 17. 



R 



S 



OF SIR FRANCIS BACON 103 

(a) is in two forms, long and short. Long R has no projection at the 
left of the top, as in "Rosi?!.," Hamlet, page 292 right, line 14. Short 
R corresponds to the K of this font and has a heavy queue reaching 
only to the line of writing, as in "Rosin.," Hamlet, page 292 right, 
line II. 

(b) is also in two forms, long and short. Long R has the top prolonged 
and ending in a downward curve, or in a dot, as in "Rosincros," 
Hamlet, page 292 left, line 59. Short R has the upper loop well 
rounded, the queue extending only to the line of writing, and is thin 
and delicate, as in "Rosin.," Hamlet, page 292 right, line 18. 

(a) is somewhat heavy, especially at the ends, as in "Sin," Henry V., 
page 79 right, Plate 96, line 36. 

(b) is a delicate letter with light, slender top, as in "Seigneur," Henry V., 
page 79 right, Plate 95, line 31. 



r(a) is in two styles, one resembling the Roman in form, as in "Then," 
Love's Labour Lost, page 144 right, Plate 97, line 34; the other 
having a top curved at the left. The stem is usually pyramidal, as in 
"Turtles," Love's Labour Lost, page 144 right, Plate 97, line 12. 

(i) is well-made and usually delicate. The top is curved downward at 
the left and upward at the right, as in "The," Love's Labour Lost, 
page 144 right, Plate 97, line 5. 



F 



(a) is a pointed letter in form resembling the Roman, as in " Fer," Love's 
Labour Lost, page 144 right, line 10. 

(b) is bowl-shaped. A line extends from the top at the left and curves 
downward like other capitals of this font, as in "Unpleasing," Love's 
Labour Lost, page 144 right, Plate 97, line 9. 



104 THE BI-LITERAL CIPHER 



r 

Z 



b 



(a) resembles the Roman letter except in position, as in "When" Love's 
Labour Lost, page 144 right, Plate 97, line i. 

{V) has the second and third lines crossed, as in "/f /!//<>," Love's Labour 
Lost, page 144 right, Plate 97, line 28. 

{a) is heavy at the left side and the stem is often pyramidal, as in "ITorke," 
2 Hen. VL, page 132 right, line 15. 

(b) is light and delicate, somewhat broad and spreading at the top, as in 
"Torke," 2 Hen. VI., page 132 right, line 29. 

is found in "Zenolophon," Love's Labour Lost, page 130 left, line 
58. It has not been classified. 

//. Small Letters. 



^ (a) is somewhat heavy with curved back. The letter inclines well to the 

Cf right, as in "all," Love's Labour Lost, page 144 right, Plate 97, 

line 29. 

(b) shows an angle in the back, at the top, and the axis of the oval is but 

slightly inclined to the right, as in "and" Love's Labour Lost, 

page 144 right, Plate 97, line 11. 



(o) has a rounded base, the stem usually showing a distinct serif at the 

top, as in "blow" Love's Labour Lost, page 144 right, Plate 97, 

line 29. 
(Jb) is pointed at the base; the stem is usually shaded from the top and is 

sometimes heavy, as in "bowle" Love's Labour Lost, page 144 

right, Plate 97, line 33. 



(fl) has rounded top and base, as in "coffing" Love's Labour Lost, page 
g - 144 right, Plate 97, line 30. 

(J)) is rather long at the top, while the lower curve is narrow and distinct, 
as in "comes" Love's Labour Lost, page 144 right, Plate 97, line 23. 



d 



f 

s 



b 



OF SIR FRANCIS BACON 105 

{a) has a somewhat large loop, well-rounded; the stem usually shows a 

serif at the top, as in "delight," Love's Labour Lost, page 144 right, 

Plate 97, line 4. 
(h) is a delicate, well-made letter, the oval not large and joining the stem 

with a curve scarcely perceptible at the top, as in "doth," Love's 

Labour Lost, page 144 right, Plate 97, line 37. 

(a) is in two forms. If the base line he extended it will meet the bisecting 
line of the oval in either case, as in "eare," Love's Labour Lost, 
page 144 right, Plate 97, line 18, and in "Logges," line 22. 

(b) is in two forms and must be tested by the lines. In this font the ex- 
tended base line and the bisecting line of the oval are parallel, as in 
"every tree," Love's Labour Lost, page 144 right, Plate 97, line 15. 

(a) is sometimes lacking in terminal curves, or if found they are slight, 
as in "frozen," Love's Labour Lost, page 144 right, Plate 97, line 23. 

(b) shows distinct curves at the terminals, as in "for," Love's Labour 
Lost, page 144 right, Plate 97, line 15. 

(a) has a blunt nose while the lower loop has rather sharp angles at either 
side, as in "greasie," Love's Labour Lost, page 144 right, Plate 97, 
line 2,7- 

(b) has a thin, clear nose. The lower loop is wide and round at the left, 
as in "greasie," Love's Labour Lost, page 144 right, Plate 97, 
line 28. 

(a) has a large, broad loop, turning upward at the base; the stem usually 

shows a distinct serif, as in "hang," Love's Labour Lost, page 144 

right, Plate 97, line 20. 
{h) is a delicate letter. The stem is usually slightly shaded from the top, 

the loop only slightly turned at the base, as in "hisse," Love's Labour 

Lost, page 144 right, Plate 97, line ^i. 



106 THE BI-LITERAL CIPHER 

• (a) may best be described negatively — it is what the h-font letter is not. 

I The first and last lines are usually close and the base rounded, as in 

"/w," Love's Labour Lost, page 144 right, Plate 97, line 33. 

{h) is well-made, the first and last lines clear and free, the base pointed, 
as in "inio, " Love's Labour Lost, page 144 right, Plate 97, line 22. 



k 



I 



(a) is seen in two forms, one closely resembling the capital with a pro- 
longed stem, as in "booke," Ben Jonson's Poem, Plate 89, line 7; 
the other having a queue curved sharply upward at the extremity. 
The stem is usually heavy and shows a distinct serif, as in "keele," 
Love's Labour Lost, page 144 right, Plate 97, line 28. 

{h) is delicate. The queue has no terminal curve, the stem slightly 
shaded at the top, as in ''Larkes," Love's Labour Lost, page 144 
right, Plate 97, line 11. 

Note. — There may be a second form corresponding to its capital, 
as in the a-font, but this has not been determined. 



(fl) is much inclined to the right, a somewhat ungainly letter, as in "lookes," 
Love's Labour Lost, page 144 right, Plate 97, line 32. 

(b) is delicate and but slightly inclined. It is usually shaded at the top 
and the base is sharp, as in "silver," Love's Labour Lost, page 144 
right, Plate 97, line 3. 



(a) is clumsy and huddled-looking. The first downward stroke is curved, 
ffl/ and the finishing line at the right comes well under the base, as in 

"merry" Love's Labour Lost, page 144 right, Plate 97, line 36. 

{]}) is clear and well-made, the last stroke free, as in "men" Love's 
Labour Lost, page 144 right, Plate 97, line 6. 



n 



P 



q 



r 



OF SIR FRANCIS BACON 107 

(fl) is clumsy, the final line crossing beneath the second downward stroke, 
as in "note," Love's Labour Lost, page 144 right, Plate 97, line 36. 

(/») is like one-half of the small w of this font, as in "«oif," Love's Labour 
Lost, page 144 right, Plate 97, line 27. 



(fl) is the capital letter in miniature. It is somewhat pointed and shows 
/^ heavier shading at the left than at the right, as in "ow," Love's Labour 

Lost, page 144 right, Plate 97, line 5. 
{b) is somewhat rounded at the base and evenly shaded on the two sides, 
as in "on," Love's Labour Lost, page 144 right, Plate 97, line 10. 



(a) is broad in the loop and level at the top, as in "pipe," Love's Labour 

Lost, page 144 right, Plate 97, line 10. 
{b) is narrow and shows the upper extremity of the loop slightly drooped, 

as in "path," Love's Labour Lost, page 144 right, Plate 97, line 23. 

{a) has a broad, well-rounded loop, as in "que," Henry V., page 79 right, 

Plate 96, line 41. 
(/') is delicate and has a drooping head, as in "qu'ils," Henry V., page 79 

right, Plate 95, line 12. 

(a) shows the first line long and drooping; the stem is somewhat blunt 
and heavy, as in "reciteray," Henry V., page 79 right, Plate 96, 
line 54. 

Q}) is not very tall; the arms are much alike and the stem somewhat 
pointed, as in "roba," Henry V., page 79 right, Plate 96, line 48. 

C (fl) is in two forms, long and short. Long s, like the small / of this font, 

shows slight curves, if any, at the terminals, as in "suis," Henry V., 
page 79 right, Plate 95, line 14. Short s is narrow, the curves close 
at top and base, as in "pas," Henry V., page 79 right, Plate 96, 
line 41. 



108 THE BI-LITERAL CIPHER 



s 



t 



u 



w 



X 



(b) is in two forms, long and short. Long s shows a tendency downward 
at the extremity of the upper curve, as in "soril," Henry V., page 79 
right, Plate 96, line 50. Short s is somewhat broad and well-made, 
as in "iippclloris," Henry V., page 79 right, Plate 95, line 17. 

(a) is somewhat large and inclined to the right, as in "temps," Henry V., 
page 79 right, Plate 96, line 40. 

{b) is narrow and pointed at the base, as in "tout," Henry V., page 79 
right, Plate 96, line 53. 

(a) is a broad letter with clear, free lines at the top and bottom, as in 
"user," Henry V., page 79 right, Plate 96, line 52. 

(b) is in two forms. One is bowl-shaped, and is the capital in miniature. 
A line extends from the top at the left and curves downward, as in 
"vous," Henry V., page 79 right, Plate 95, line 16; the other is an 
ordinary Italic u, somewhat heavy in the upward stroke, as in "Dieu," 
Henry V., page 79 right, Plate 95, line 31. 



{a) is somewhat heavy and broad, as in "wall," Love's Labour Lost, 
page 144 right, Plate 97, line 20. 

(b) is well-made and usually delicate; the first line extends out toward 
the left, 2.s'm"ivayes," Love's Labour Lost, page 144 right, plate 97, 
line 24. 

(a) is narrow and somewhat clumsy, as in "Exeunt," Love's Labour 
Lost, page 144 right, line 54. 

{b) is wide, the last stroke clear and free, as in "Exeunt," Henry V., page 
79 right, Plate 96, line 59. 



y 



z 



OF SIR FRANCIS BACON 109 

(fl) is noticeably heavy at the left; the top is somewhat wide and open, as 
in "merry" Love's Labour Lost, page 144 right, Plate 97, line 27. 

{h) shows very little difference in the thickness of the lines, as in "Nayles," 
Henry V., page 79 right, Plate 95, line 17. 

(rt) is well-made. The queue is much curved and ends in a dot, as in 
"frozen," Love's Labour Lost, page 144 right, Plate 97, line 23. 

(h) is narrow at the top. The queue looks unfinished, as in "assez," 
Henry V., page 79 right, Plate 96, line 58. 



no THE BI-LITERAL CIPHER 

8. Peele's The Knight of The Golden Shield, 1599. 

Note. — Tlie book is not paged, hut for purposes of reference the 
pages are counted from the first page of the play. For purposes of 
computation, Sig. B=page 5, sig. B l = p. 7, sig. C=p. 13, etc. 
Pages 1-4 and 60-62 are reproduced m Plates 52-60. 



J 



c 



D 



H 



I. Italic Capitals m Large Type. 

(a) is plain. The limbs are heavy and each finished by a serif. The 
bar is also thick, as in "And," title page, Plate 52, line 7. 

(h) is delicate and well-made. The left limb is a light line, and the cross- 
bar light and slanting, as in "And," Plate 54, line 4. 

{a) is in two forms, one resting on the line of writing, the other extending 
below. The long C is seen in "Clyomon," title page, Plate 52, line 4; 
the short in "Clyomon," Plate 55, line i. Both are heavy with 
wide curves. 

(b) is in two forms, both characterized by lightness and curved tops. See 
page 8, line i, and page 58, line i. 

(a) is a heavy letter. The stem is slightly pyramidal and the curve dis- 
tinctly thickened at the ends, as in "Denniarke," title page, Plate 52, 
line 6. 

(b) is well-made, with delicate lines noticeably tlin at the top and bottom, 
as in "Denmark," Plate 54, line 3. 

(a) is heavy, particularly in the cross-bar, as in "Historic," page 12, 

line I. 
{b) is delicate, the cross-bar a mere thread, as in "Historic," Plate 55, 

line I. 




OF SIR FRANCIS BACON 111 

(a) is somewhat heavy. The short upper branch on the right is distinctly 
thickened at the top, as in "Knight," page 7, line i. 

(b) is delicately made without shading in the top of the upper right stroke, 
as in "Knight," Plate 56, line i. 

(a) is a heavy letter with long rounded curves, as in "Sheeld," Plate 56, 
line I. 

T(rt) frequently dotted, is a heavy letter with a thick bar at the top, as in 
"The," page 6, line i. 
(b) is somewhat slender with a long cross-bar, as in "The," page 8, line i. 

//. Italic Small Letters in Large Type. 



a 



d 



e 



(a) is somewhat heavy, with a rounded back and close foot, as in "Den- 

marke," title page, Plate 52, line 6. 
{h) shows light lines and a square shoulder in the back, as in "Denmark," 

Plate 54, line 3. 

{a) is rounded and heavy at the base, the stem broad and thick at the top, 

as in "Sheeld," Plate 56, line i. 
{h) is very delicate. The loop from the base to the stem becomes a hair 

line, as in "And," Plate 54, line 4. 

(fl) is in two forms. In one the base line protended meets the line bi- 
secting the loop outside and above the letter. In the other, similar 
lines intersect outside and below the letter. 

(/>) is in two forms. The bisecting line of the loop runs parallel to the 
protended line of the base, and not greatly inclined. In the second, 
they are also parallel, but the inclination is greater. 

One can see that the lule is less complex than it seems; for when 
the lines meet, the letter belongs to font a; when they are parallel, it 
is a i-font letter. In "Sheeld," page 15, line i, the first is from font a, 
the second from font b. On the title page, Plate 52, the e of "white," 
line 7, belongs to font a, that of "sonne," line 7, to font b. 



112 THE BI-LITERAL CIPHER 



/ 



g 



h 



k 
I 



{a) is a somewhat heavy letter with a thick foot, and a cross-bar much 
broader on the side of the letter toward the right, as in "of," title page, 
Plate 52, line 8, and in "of", page 12, line i. 

(b) is a well-made letter particularly delicate in the lower part and usually 
having a light bar, as in "of," page 9, line i. 

(a) shows the bisecting line of the oval but slightly inclined. There is 
usually marked thickness at the top, and the nose is somewhat heavy 
as in "King," title page, Plate 52, line 8. 

(b) is delicately made; the bisecting line slants noticeably as in "Knight," 
page 9, line i. 

(a) is broad and heavy at the top and has rounded loop, as in "the," title 
page, Plate 52, line 7. 

(b) is delicate and slender, the loop slightly pointed, as in "white," Plate 
54. line 4. 

(a) is of nearly uniform thickness throughout, as in "Knight," title page, 

Plate 52, line 7. 
{b) shows thickened and often slightly rounded base, as in "Knight," 

Plate 54, line 4; and "King," title page, Plate 52, line 8. 

(a) is somewhat heavy in the top of the upright; the queue is uniform in 
thickness throughout its length, as in "Denmarke," title page, Plate 52, 
line 6. 

(fl) is broad at the top, growing markedly slender toward the base, as in 
"Sheeld," Plate 56, line i. 

(b) is nearly uniform throughout with a free line at the base, as in "Clyo- 
mon," title page, Plate 52, line 4. 



OF SIR FRANCIS BACON 113 

(a) is somewhat heavy. The loops are rounded at the top and show 
ffA heavy shading. The short lines at the beginning and end of the letter 

are also rounded, as in "Denmarkc,'" title page, Plate 52, line 6. 
(J)) is delicate; loops somewhat pointed; the short line free and clear, as 
in "Clyonion," page 8, line i. 



^ 







r 



s 



(a) has the characteristics of small m in this font, as in "sonne," title page, 
Plate 52, line 7. 

(h) has the chaiacteristics of small m in this font, as in "And" Plate 54, 
line 4. 

((?) has the left side rounded out more than the right, as the first in 
"Clyonwn," title page, plate 52, line 4; and the in "sonne," 
title page, Plate 52, line 7. 

(b) is nearly equally curved on the two sides, but is usually somewhat 
flattened at the base, as the second in "Clyonwn," title page, 
Plate 52, line 4. 

(a) is usually somewhat heavy, and quite broad and angular at the top, 

as in "Denmarkc," title page, Plate 52, line 6. 
(Jb) is a delicate letter not very wide at the top, and finished at the right 

with a drooping dot, as in "Historic," page 14, line i. 

(a) is in two forms, long and short, but the latter appears only in com- 
bination with t. The long j of this font is heavy and shaded toward 
the bottom, as in "sonne," title page, Plate 52, line 7. 

(i) was used only as long s in this font. It is slender and delicate, grow- 
ing very thin at the base, as in "sonne," Plate 54, line 4. 

{a) is a heavy letter with rounded base, as in "Knight," page 7, line I. 
(^) is delicate with a free clear line at the base, as in "white," Plate 54, 
line 4. 



114 THE BI-LITERAL CIPHER 



(rt) has two lines at the left, extending much higher than the body of the 
701 letter, as in "luliite," title page, Plate 52, line 7. 

(b) is flat and somewhat wide, as in "white," Plate 54, line 4. 



y 



A 
B 

C 



(a) is somewhat heavy and has a stem turning almost sharply to the left, 

as in "Clyoinoti," title page, Plate 52, line 4. 
(/>) is delicate. The stem curves gradually to the left, as in "Clyomon," 

Plate 55, line i. 

///. Italic Digraphs tn Large Type. 

The digraphs of this larger size have the characteristics of the simple 
forms of which they are composed. 

IV. Italic Capitals in Small Type. 

(a) is a plain letter, each limb being finished by a serif, as in "Author," 

Prologue, Plate 53, line 15. 
{b) has the left limb curled upward and usually finished by a dot, as In 

"Alexander," page 5, line 15. 

(fl) is plain, resembling capital B in Roman type, except that it inclines 

to the right, as in "5rya«," page 16, line 10. 
(i) has a broad top ending at the left in a curve, as in "Bryan," page 15, 

line 35. 

(a) is in two forms, short and long. The short C of this font reaches 
well out at the top, has a round shaded back and an angle or corner 
at the right of the base, as in "Enter Clamydes," Plate 54, line 6. 
Long C is also wide at the top and droops very little, as in "Clamydes," 
page 8, line 21. 

(^) is in two forms, the longer one being much more often used. This 
shows a tendency to droop at the top, the line often being very heavy 
at the end, as in "Clyomon," Plate 56, line 16. The short C is quite 
different, and shows a short top, and perfect curve at the base, as in 
"Clamydes," page 19, line 20. 



D 



E 
F 



G 



H 



I 



OF SIR FRANCIS BACON 115 

(a) is plain, and has the characteristics of capital B of this font, as in 
"Dentnarke," Plate 54, line 14. 

(i) is broad at the top and ends at the left in a downward curve, as in 
"Denmarke," page 13, line 21. 

(a) is plain and angular, resembling the Roman letter except in inclina- 
tion, as in "Enter," Plate 54, line 6. 

(h) is like a script letter, as in "Enter," page 11, line 15. 

{a) is somewhat heavy and the stem is slightly pyramidal, as in "Forrest," 
page 36, line 10. 

(h) is a delicate letter with a thin slanting line at the top, as in "Fortune," 
Prologue, Plate 53, line 8. 

(a) is not very large, but is usually heavy and clumsy, as in "Garland," 
Prologue, Plate 53, line 7. 

(b) is a well-made letter terminated by a distinct serif, as in "Glasse," 
Prologue, Plate 53, line 4. 

(a) is not very wide, but heavy, with a cross-bar also somewhat heavy, as 
in "Here," page 4, line 25. 

(^) is well-made, is wide, and has a light cross-bar, as in "Hydras," Plate 
57, line 6. 

(a) is a very distinct letter, often quite heavy, as in "luliana," Plate 55, 
line 2. 

{h) is a delicate letter, sometimes showing weakness in the stem, as in 
"luliana," Plate 55, line 16. 



116 THE BI-LITERAL CIPHER 



K 



L 

M 



N 




P 



(ti) Is somewhat cliinisy and is marked by a heavy queue, as in "King," 

page 8, hne 24. 
(h) is in two forms, long and short, and very shght and delicate in either 

case, as in "Enter Knoivledge," Plate 58, line 25, and "King," page 

57, line 16. 

(a) is narrow and composed of straight lines, as in "Lo.," page 9, line 19. 
(h) is a delicate, well-made letter. The base shows a faint wave line, as 

in "Lord," page 9, line 12. 

(d) is a plain letter resembling the Roman type except that it is inclined 
to the right, as in "Mars," Plate 56, line 28. 

(b) has the first lirnb long and curved upward at the end. On the left 
side at the top is appended a bar drooping at the end, such as may be 
seen at the top oi B, D, and P of this font, as in "Macedon" page 12, 
line 13. 

(a) is rather large. The first upright shows shading toward the base, as 
in "Noble," Prologue, Plate 53, line 3. 

(b) is a somewhat narrow letter and has no shading in the uprights, as in 
"Nortvay," page 41, line 23. 

(a) is a pointed letter, curving out more upon the left side than the right, 
as in "Our," Prologue, Plate 53, line 4. 

(i) is not very tall and appears flattened at the base, as in "Omnes," page 
62, line 39. 

{a) is plain and resembles the Roman letter in form but not in position, 
as in " Patrani us, " \)2igeT,2,\\x\e 7,0. 

(b) has the top extended toward the left and finished by a curve down- 
wards, as in "Philip," page 12, line 19. 



R 

S 



V 



OF SIR FRANCIS BACON 117 

{a) is heavily shaded in the top of the oval, scarcely at all in the queue, as 

in the second "Queene," page 55, line 20. 
(h) is very delicately made, and shaded more at the sides than upon the 

top, as in "Queetie," page 55, line 4. 

(a) is a plain heavy letter, as in "Ring" page 7, line 18. 

(a) is very heavy at the base and ends in a thick serif, as in "Shift," page 

15, line 13. 
(^) is delicate. The lines in the upper part are usually very light, as in 

"Sauce," page 16, line 10. 



—m • (a) is heavy and usually has pyramidal stem, as in "To," Prologue, Plate 



53, line 6 

(a) is plain and sharply pointed, as in "Venus," page 16, line 29. 

(b) is bowl-shaped, with a mark on the left, at the top, ending, like the 
B, D, P, etc. of this font, in a downward curve, as in "Venus," page 16, 
line 35. 

(a) is heavy and clumsy, with curves showing in the last upward stroke 
and in the first heavy downward stroke, as in" fVlierein the f row aid," 
Prologue, Plate 53, line 8. 

{b) is clear and well-made, with light straight lines for the second and 
fourth strokes, as in "fVherein the Noble," Prologue, Plate 53, line 3. 

V. Italic Small Letters in Small Type. 

y^ {a) is quite a heavy letter and somewhat large, as in "leaues," Prologue, 

td^ Plate 53, line 2. 

(h) is delicate. The downward stroke at the right is slightly longer than 
that of an a-font letter, as in "lately" Prologue, Plate 53, line 2. 



118 THE BI-LITERAL CIPHER 



b 



c 



d 



f 
g 



(a) is somewhat heavy, but the base is narrow, as in "bablers," Prologue, 

Plate 53, line i6. 
(h) is delicately made, the line of the loop showing thin at the base where 

the curve is wide, as in "bright," Prologue, Plate 53, line 4. 

((?) is wide at the top, extending in nearly a straight line, as in "which 

iionour," Prologue, Plate 53, line 5. 
{b) is short at the top, and the line turns downward at the right, as in 

"chances," Prologue, Plate 53, line 8. 

{a) is rather heavy. The loop joins the upright somewhat low at the 

base, as in "found," Prologue, Plate 53, line 4. 
(i) is light and delicate. The loop joins the upright at a high point, as in 

"hidden," Prologue, Plate 53, line 3. 



(a) is in two forms. In this font the bisecting line of the loop and the 
f^ protended line of the base meet or intersect, as in "same" and "large," 

Prologue, Plate 53, line 19. 

(^) is in two forms. The bisecting line of the loop and the protended 
line of the base run parallel in either case, as in "Loners" and "de- 
light," Prologue, Plate 53, lines 10 and 18. 



(fl) is not very well made and usually grows heavy toward the base, as in 

"found," Prologue, Plate 53, line 4. 
{b) is delicately made. The cross-bar is slightly thickened at the left, as 

in "lifting," Prologue, Plate 53, line 2. 

(a) has a high, blunt nose and a somewhat angular loop, as in "bright," 
Prologue, Plate 53, line 4. 

(b) is also well-made. The nose is clear and straight; the loop pointed 
slightly at right and left, as in "glory" Prologue, Plate 53, line 4. 



h 



• 



/ 



k 



I 



m 



OF SIR FRANCIS BACON 119 

(a) is heavy at the top of the stem and the loop is rounded, as in the first 
"t!ie," Prologue, Plate 53, line 2. 

(h) is delicate, almost without shading, and shows a slight deflexure in 
the loop as it leaves the stem, as in "honour," Prologue, Plate 53, 
line 5. 

(a) is also distinct and usually large, as in "writers," Prologue, Plate 53, 
line 2. 

(b) is not very tall but is distinctly well-made, as in "lifting," Prologue, 
Plate 53, line 2. 

(a) is usually heavily shaded at the top of the stem. The queue leaves 
at a point very slightly above the line of writing, as in "workes," 
Prologue, Plate 53, line 2. 

(U) is well-made. The stem is nearly uniform; the queue is attached 
somewhat higher than in the a-font letter, as in "Denmarke," page 52, 
line 31. 

(fl) is in two styles. One is broad at the top, becoming very slender, as in 
"lately," Prologue, Plate 53, line 2. The other is characterized by 
its clumsiness and want of grace, as in "large," Prologue, Plate 53, 
line 19. 

(/)) is of nearly uniform thickness throughout the stem, with a free last 
stroke, as in "Enter Claniydes," Plate 54, line 6. 

(a) has the first downward stroke turned to the right at the base. The 
loops are rounded, as in "manifestly," Prologue, Plate 53, line 12. 

(J)) has no bend in the first downward stroke; neither do the tops of the 
loops turn aside, as in "time," Prologue, Plate 53, line 7. 



120 THE BI LITERAL CIPHER 



n 







P 



r 



s 



(a) is heavy and lias the appearance of the second half of small m in this 
font, as in "honour," Prologue, Plate 53, line 5. 

(b) is delicate. The first downward stroke shows no curve, as in "lift- 
ing," Prologue, Plate 53, line 2. 

(a) is somewhat tall and like the capital, pointed at the base, as in" honour," 

Prologue, Plate 53, line 5. 
(h) is sometimes broad and flattened at the base, sometimes only nicely 

made and equally shaded on either side, as in "deeds of," and "same 

to," Prologue, Plate 53, lines 3 and 19. 

(a) has a stem somewhat widened at the base. The loop is broad at the 

top, as in "lifting up," Prologue, Plate 53, line 2. 
{b) has a stem of nearly uniform thickness throughout, and a loop not 

much wider at the top than the bottom, as in "aspire," Prologue, 

Plate 53, line 7. 

Note. — Both fonts may be seen in "apparell," page 36, line 10. 

(a) is rather heavy at the top and thick-stemmed, as in "workes," Pro- 
logue, Plate 53, line 2. 

{b) is quite delicate. The right arm is a little shorter and thinner than 
the left, as in "lurks," Prologue, Plate 53, line 3. 

(a) is in two forms, long and short. The long s of this font reaches well 
out at the top, as in "aspire," Prologue, Plate 53, line 7. The 

short s is narrow and close in the head, but broad at the base, as in 
"leaues," Prologue, Plate 53, line 2. 

Q)) is in two forms, long and short. Long s is well-made. The top bends 
down a little at the right, as in "seene," Prologue. Plate 53, line 5. 
Short s droops distinctly at the top, but is narrow and delicate at the 
base, as in "workes," Prologue, Plate 53, line 2. 



OF SIR FRANCIS BACON 121 

/(a) is not very tall and is usually broad at the top, as in "lifti}ig," Pro- 
logue, Plate 53, line 2. 

(b) is tall and well-made, as in "writers," Prologue, Plate 53, line 2. 

(b) is bowl-shaped, as in "valiantly," page 11, line 15. 

^J {a) is large, and has a bend in the second heavy stroke, as in "you at 
large," Prologue, Plate 53, line 19. 

{b) is well-made with free lines at top and bottom, as in "lurks," Prologue, 
Plate 53, line 3. 



^/J^ («) has the characteristics of the capital of this font, as in "who," Pro- 
logue, Plate 53, line 19. 

(Jj) is a clear, well-made letter, as in "writers," Prologue, Plate 53, 
line 2. 



'V' {a) is broad, as in "expresse," Prologue, Plate 53, line 19. 

{b) is a narrow letter, as in "Exit," Plate 56, line 32. 



^i (a) is a long narrow letter, close at the top, as in "glory," Prologue, 

Jf Plate 53, line 4. 

(b) is somewhat broad and open at the top. The stem is often clearly 
curved outward from top to bottom, as in "dayly," Prologue, Plate 53, 
line 6. 



122 THE BI-LITERAL CIPHER 

VI. Italic Digraphs, etc. in Small Type. 

(aa) is the union of the simple form of a, with an s very sharply pointed at 
Xl \ the top, as in "as can," page ii, line l6. 

{ab) is the union of the simple form of a, in font a, with an s slanting well 
to the right. The s is likewise of nearly uniform thickness through- 
out, as in "as famous," Prologue, Plate 53, line II. 
Note.— "ai" in "as well" of the Prologue, (Plate 53, line 1 1) is marked 
aa because the s is dotted. 

(ha) is the union of the simple form of a, in font b, with an s sharply- 
pointed at the top, as in "as though," Plate 57, line 24. 

(bb) is the union of the simple form of a, in font b, with an s of nearly uni- 
form thickness, slanting well to the right, as in "lulianas," page 15, 
line 31. 



IS 



(B 



{aci) is the union of the simple form of ;', in font a, with an s that usually 
ends in a dot and is distinctly shaded in the curve, as in "his toile," 
Prologue, Plate 53, line 16. 

{ab) is the union of the simple form of /', in font a, with an s uniform in 
thickness throughout, as in the last "Neronis," page 62, line 28. 

(ba) is the union of the simple form of /, in font b, with an s having shading 
in the curve and usually ending in a clear dot, as in "his apparell," 
page 24, line 13. 

(bb) is the union of the simple form of ;', in font b, with an s uniform in 
thickness throughout, as in "Neronis," page 29, line 22. 

(aa) is the union of a large, well-formed with one of the simple forms of ^ 
in font a, as in "Cceur" page 53, lineS. 

ibb) is the union of a narrow, pointed 0, with one of the simple forms oi e 
in font b, as in "Phcebus," page 47, line 14. 



us 



a 



ff 



fi 



OF SIR FRANCIS BACON 123 

{aa) is the union of the u having shading in the first downward stroke, and 
an s also distinctly shaded in the curve, as in "Mustantius." page 42, 
line 32. 

(ab) is the union of the u. shaded in the first downward stroke, with an s of 
nearly uniform thickness throughout, as in "Serbarus," Plate 56, line 5. 

(ba) consists of the u that is broad at the top and shows a thin downward 
stroke, turning somewhat sharply into the up-stroke, joined with an 
s distinctly shaded, and usually ending in a dot, as in "Patrntiius," 
page S3' line 7. 

(hb) is the union of a broad u thin in the first part with an s of nearly uni- 
form thickness throughout, as in "Mustantius," page 34, line 33. 

(ab) is the union of a c rounded at the base, with a long t of nearly uniform 
thickness below the bar, as in "Hector," page 45, line 22. 

(ba) is the union of a small c turned rather sharply at the base with a t 
shaded in the lower part, as in "acts,'\ Prologue, Plate 53, line 3. 

(bb) is the union of a c sharply turning upward at the base, with a t of uni- 
form thickness in the lower part, as in "Actors," Prologue, Plate 53, 
line 19. 

(ab) is the union of a distinctly shaded / having a cross-bar heavy at the 
left, with another that is unshaded reaching well out at the right at the 
top, as in "off," Plate 57, line 26. 

(ba) is the union of an unshaded letter, with delicate cross-bar, with a 
heavier one having the head drooping somewhat at the right, as in 
"Giffrey," page 40, line 16. 

(ab) is the union of a somewhat heavy /with a well-made /, as in "findeth," 
Prologue, Plate 53, line 10. 

(bb) is the union of a somewhat delicate /reaching well out at the top, with 
a well-made /, as in "filthy," Prologue, Plate 53, line 17. 



124 THE BI-LITERAL CIPHER 



ffl 

fr 



II 



^h 



St 



{aaa) is the union of two delicate /'s with a straight well-made /, as in 
"Wiffler," page 48, line 2. 

{an) is the union of a somewhat heavy/, having the cross-bar heavier at the 

left, with the simple form of r, in font a, as in "from" Prologue, Plate 

53, line 13. 
(bb) is the union of a well-made / with the simple form of r in font b, as 

in "frustrate," Prologue, Plate 53, line 16. 

Note. — The r in "frustrate" is changed to an a-font letter by the 

mark attached to the foot. 

(rta) is the union of two Fs of the simple form, in font a, as in "shall see," 

Prologue, Plate 53, line 8. 
{ab) is the union of the simple form, in font a, with the simple form in 

font b, as in "all his," Prologue, Plate 53, line 16. 
{ba) is the union of the simple form, in font b, with the simple form, in font 

a, as in "Courteous all," Prologue, Plate 53, line 14. 
{bb) is the union of two I's of the simple form in font b, as in "fall," page 39, 

line 23. 

(aa) is the union of the long s in font a, with the long h having a somewhat 
narrow loop, as in "shall see," Prologue, Plate 53, line 8. 

(ba) is the union of a delicate long s, turning upward at the foot, with a 
narrow-looped long h, as in "shining," Prologue, Plate 53, line 4. 

(bb) is the union of a long s finished by a foot turning upward with a wide- 
looped /;, as in "shall expresse," Prologue, Plate 53, line 19. 

{ab) is the union of a longj having a head drooping at the right, with the 
simple form of/, in font b, as in "signifying," page t,^, line 27. 

(bb) is the union of a delicate long s reaching well out at the top, and the 
simple form of / in font b, as in "desire," Prologue, Plate 53, line 6. 



ss 



St 



OF SIR FRANCIS BACON 125 

(«Z>) is the union of a short s in font a, with a long p having a loop rather 
wide in the lower part, as in ''Vesper,^' P^g^ 47» line i8. 

{ad) is the union of two rather heavy letters with drooping tops, as in 

''■expresse," Prologue, Plate 53, line 19. 
{ah) is the union of a heavy long s having a straight foot and drooping 

head, with a more delicate letter reaching well out at the top and 

usually turning upward at the base, as in "successes," Prologue, 

Plate 53, line 9. 
(ha) is the union of a well-made long .f reaching v/ell out at the top, with 

another having a drooping head, as in "Glasse," Prologue, Plate 53, 

line 4. 
(aa) is the union of a long s shaded from the top and a long t also shaded. 

The t is somewhat sharp and narrow at the base, as in "accustomed," 

Prologue, Plate 53, line 14. 
(ah) is the union of a long s, having a drooping head, and straight foot, 

with a long t thin at the top and somewhat wide at the base, as in 

"prest," Prologue, Plate 53, line 15. 

(ba) is the union of long s of nearly uniform thickness throughout, having 
a head that reaches out well at the top, with a long / narrow at the base 
and shaded from the top, as in "taste," Prologue, Plate 53, line 17. 

(bb) is the union of a long s of uniform thickness, reaching well out at the 
top, with a long / thin at the top and somewhat wide at the base, as in 
"frustrate," Prologue, Plate 53, line 16. 

(aa) is the union of short s, in font a, with a / heavily shaded at the top, as 
in "Mustantius," page 50, line 7. 

(ah') is the union of short s, in font a, with a / somewhat heavy at the base 
but thin at the top, as in "Mustantius," page 50, line 20. 

(ha) is the union of short s, in font b, with a / heavily-shaded from the top, 
as in "Must," page 50, line 26. 

(bb) is the union of two simple letters of this kind in font b, as in "Mus- 
tantius," page 45, line 18. 



126 THE BI-LITERAL CIPHER 

9. Sylva Sylvarum, 1627. 

/. Italic capitals in Large Script on Engraved Pages. 

The large and medium sizes of these letters follow almost exactly the 
forms and classification of the alphabets in Bacon's illustration of the 
bi-literal cipher, De Augmentis Scientiarum, 1623. The small size has 
one alphabet of these and one that closely resembles the common Italic 
type. As in printed pages the change to the small size reverses the fonts, 
so in this, also, shaded tops that ivere a-Jont in large and medium 
sizes are h-font in the small, capital E being an exception as in Bacon s 
example. The large size is first described, and the letters are found under 
the portrait, Plate 64. 



A 



D 
E 

F 
H 



(a) appears in three styles, two ending in a shaded foot, the third having 
a shaded head, as in "J prilis," "Annof," and "Anno." 

(b) has an appendage at the top, a mark that characterized the ^-font in 
Bacon's illustration, as in "Alban." 

(a) shows a long shaded foot, as in "£)"'." 

is not given here, but in Bacon's example, form a, E has the character- 
istic top of the other alphabet, showing his departure from consistent 
forms to make particular alphabets. E, form b, is a script letter. 

(b) has the appendage belonging to this alphabet and the stem ends in a 
flourish, as in Bacon's illustration. See "Francis." 

(b) has a line appended to the top of the left limb. The right commences 
with a flourish, as in "/-/oh*''." 



a 



h 
c 



OF SIR FRANCIS BACON 127 

(fl) is seen on the engraved title page in "NATURALL." It has the 

closed head characteristic of this form. 
(h) commences with a little flourish or loop, as in "Lo." 

(a) is a plain letter commencing with a dot, as in "S"- Alban." 



L 

S 

r(h) has a long, graceful curved line appended at the top, and a stroke 
^u_ r__^ __ ;„ "TL. " 

V 



across the foot, as in ^^The 

(h) has the curved line appendage characteristic of this alphabet, as in 
" Fiscount." 

II. Italic Small Letters in Large Script on Engraved Pages. 

The large and medium sizes of these letters follow almost exactly the 
forms and classification of the alphabets in Bacon's illustration of the 
bi-literal cipher, De Augmentis Scientiarum, 1623. The small size has 
one alphabet of these and one that closely resembles the common Italic 
type. As in printed pages the change to the small size reverses the fonts, 
so in this, also, shaded tops that were Z-font in large and medium sizes 
are h-font in the small size. The large size is first described and the letters 
are found under the portrait, Plate 64.. 

(a) shows an angle at the top where it joins the upright, as in " Ferulam." 

(b) rounds from the upright into the oval, as in "Francis." 

(a) has a long shaded head, as in "Alban." 



(a) shows a distinct dot at the top and a wide curve at the base, as in 

/discount. 

(^) has a long top and short curve at base, as in "Francis." 



128 THE BI-LITERAL CIPHER 



(fl) is a simple script letter, as in "The." 
i^ (i) of the example cited is a diminutive size of the capital in this alphabet. 



g 
h 



I 

m 
n 



P 
r 



(a) has an oval head and plain stem, as in "right." 
(a) has a long shaded head, as in "The." 

(a) is rounded at top and bottom, as in "right." 

(b) is more abrupt than the a-font, as in "Viscount." 

(a) has a long, shaded head, as in "Albau." 

(b) in De Aiigmentis begins with a little flourish or loop. 

{a) is fancy and plain with rounded loops, as in "mortiius" and "Veru- 
lam. 

{a) is rounded at top and bottom, as in "Hon"' ." 

(h) has shorter curves; the connecting line between the two uprights 
leaves the first quite near the top, as in "Alban." 

(a) is not large but very distinctly shaded, as in "Hon''''." 

(b) is larger, which gives it the appearance of having less shading, as in 

Viscount . 

(a) has the characteristics of the p in "sculp." on the engraved title page. 

(b) has a stroke across the foot, as in "Aprilis." 

(a) Small q in the termination que of " Annoq " belongs to form a. 

(a) has a drooping dot on the right arm, as in "right." 

(b) has a curved or waved line at the right, as in " Verulam." 



OF SIR FRANCIS BACON 129 

(a) appears here only in combination with t and u. It is widely curved at 
V the base, as in "Aprilis" and "mortuus." 

(h) is in two styles, long and short. The former is a plain loop above the 
line and a flourish below, as in "Viscount;" the latter is found here in 
combination with i and is narrow and close, as in "Francis." 

/{a) is, in the simplest style, an upright and plain cross-bar, as in "right." 
(b) has a line connecting the base and cross-bar, as in "Viscount.'" 



V 

u 



A 



H 
I 

L 



(a) is broad; the second upright is slightly depressed at the top, as in 
" Verulam." 



(b) shows an upward turn to the second upright, as in "Viscount." 

III. Italic Capitals In Medium Script on Engraved Pages. 
Note.— References are to Plates 6.^~6§. 

(a) is in two styles, one ending in a prolonged dot at the base; the other 
in a light flourish, as in "NATURALL" and "Anno." 

(b) has a large flourish at base. The cross-bar is heavy, the right side is 
heavily-shaded, and the foot makes a sharp angle with the upright, as 
in the word "A." 

(h) has a short line appended to the top of the first upright. The base is 
like that of the capital A, in this form, as in "HISTORY." 

(a) has a flat top. The stem terminates in a heavy dot, as in 
"HISTORr." 

(a) commences with a large dot and has a rather short base line, as in 
"NATURALL." 



130 THE BI-LITERAL CIPHER 



N 


R 

S 



(a) has a large dot at the bottom of the first upright and at the top of the 
second. A long shaded stroke connects the two pans and extends 
below the line, as in "NATURJLL." 

(b) is much inclined to the right and is more heavih--shaded at the left. 
It is smaller than the c-font letters next to it, as in "HISTORT." 

(a) has a dot at the lower end of the stem. The curves are plain and 
simple, as in "HISTORT." 

(a) is made up of simple curves terminating in heavy dots, as in 
''HI STORY r 



r(fl) has a flat top. The stem terminates in a large dot, as in 
"HISTORT." 



V 
T 

11 





(F) has the appended line of the ^-font, as in "Viscount." 

{h) has a flourish crossing the stem at its base, as in "HISTORT." 

IF. Italic Small Letters in Medium Script on Engraved Pages. 

Note. — References are to Plates 6.f.-6^. 
(i) is broad and somewhat angular, as in "Anno." 



(b) is more heavily shaded at the left, as in "Anno." 

^ {a) has a drooping top and serif at the base, as in "£)'." 
C (b) is of nearly uniform thickness throughout, as in "Autho"." 



A 
D 

E 
F 
G 
H 
I 
L 
M 

P 
S 



OF SIR FIL\NCIS BACON 131 

F. Italic Capitals in Small Script on Engraved Pages. 
Note. — References are to Plates 6^-6§. 
(b) has the left limb prolonged and heavily shaded, as in "Allan." 

(a) has the stem of this letter in Italic type. The loop is prolonged in a 
graceful curve, as in "Deus." 

(a) has a top ending in a drooping dot at the left. The base line is level, 
as in "£t." 

(a) has a stem ending in a flourish, as in "Francis." 

(i) is like the ordinary capital in Italic type. 

(h) has a base like the letter A in this font. A heavy dot is at the top of 
the second stem, as in "Hon"'." 

(a) terminates in a flourish at the base, as in "Intellectualts." 
(h) commences with a heaw dot, as in "Lo." 



(b) is in two styles, both showing a prolonged dot at the foot of the first 
upright, as in "MunJus" and "Mytre." 

(b) has a dot at the foot of the stem. The loop is prolonged in a long 
curve over the top, as in "Printed." 

(a) terminates in a flourish at the base, as in "S". Alhan." 



132 



THE BI-LITERAL CIPHER 



> —y i * (b) has a stem ending in a prolonged dot, as in "Turks." 

_, _ (a) has a long, curved line appended to the top of the left limb, as in 
// " Fiscounl." 

{b) shows a curve in place of the angle at the top of the left limb, as in 
" f^erulam." 

(a) has a curved line appended to the top limb, as in "Written." 

(a) y in this size belongs to font a. 

VI . Italic Small Letters in Small Script on Engraved Pages. 
Note. — References are to Plates 6^-6§. 



IF 




a 



b 



c 



d 









shows the stem extending slightly below the loop, as in " Ferulam." 
is a broad letter level at the base, as in "Allan." 

is like this letter in Italic type, as in "by." 
commences in a prolonged dot, as in "bona." 

has a short top and wide curve at base, as in "lucem." 

is somewhat longer at the top than the a-font, while the curve at the 
base is comparatively narrow, as in "Intellectualis." 

is like the same letter in type. 

has a long shaded head, as in "vidit." 

shows angles in the loop, as the first e in "esset." 
has a long, smooth loop, as the second e in "esset." 



/ 

g 

h 



k 
I 

m 
n 





P 



OF SIR FRANCIS BACON 133 

{V) has a heavy dot at either terminal, as in "for." 

(a) is Hke the ordinary script letter, as in "right." 

(b) would correspond with its capital and be the well-known form of an- 
tique Italic type. 

{a) like b, d, I, etc., is in the ordinary form of Italic type, as in "right." 

(a) is somewhat rounded at top and bottom, as in "Written." 

(b) is somewhat sharp at top and bottom, as in "in Fleetstreet." 

(a) is like the same letter in Italic type, as in "Turks." 

(a) is like this letter in Italic type. 

(b) has a long shaded head, as in "lucent." 

(a) is made up of well-rounded curves, the last stroke heavy and wide, as in 
" f^erulam." 

(a) is somewhat sharp at the top, as in "Francis." 

(b) has the characteristics of small m in this form, as in "Written." 

(a) is a small, narrow letter distinctly shaded, as in "Hon"'." 

(b) is larger than the a-font letter and the shading appears less marked, 
as in "Viscount." 

(b) is seen in "sculp." but, as the engraver's signature was not used in the 
message, this is noted only to call attention to the style of this letter 
which has a prolonged dot at the end. 



134 THE BI-LITERAL CIPHER 

/y (a) has the stem ending in a prolonged dot, as in "quod." 



r 

s 



V 



X 

y 




(a) has a drooping dot at the end of the right arm, as in "Written." 

(b) has the end of the right arm curled under, as in "right." 

(fl) is in two styles, long and short, both styles appearing in two varieties. 
One of the varieties of long s is composed simply of two long loops, 
one above and the other below the line; the other long j^, instead of 
the upper loop, has a dot, as the first s in "esset" and the s of "Vis- 
count." The short s is seen in combination with t in "street" which 
shows the simple style, while the little script s in combination with i 
and u is never found alone. It belongs to font a in this place. 

(b) shows similar styles. There is a long s terminating in a dot at top and 
bottom, as in "sould" a simple short s finished in the same way as in 
"Turks," and one s used in combination showing the connecting lines 
crossing both top and bottom, as the second s in "esset." 

(a) is the simple one of Bacon's example. 

(b) is marked by shading at the base of the stem and at the right extremity 
of the cross-bar, as in "Fleet." 

(a) is a diminutive letter like the capital, as in "vidtt." Another is like 
an inverted n, the top showing rounded, as in "lucem." 

{b) is broad. The connecting line between the two uprights joins the 
second very near the base, as in "Mundus." 

(a) shows the heavier bar long and sweeping, as in "next." 

{a) ends in a flourish below the line, as in "by." 

(h) ends in a large dot below the line, as in "Mytre." 

(a) in this size belongs to font a. 



A 



B 
C 

D 

E 



OF SIR FRANCIS BACON 135 

FII. Italic Capitals in Large Type. 

The type of the address "To the Reader" and the running title in the 
body of the work, is described with New Atlantis, Page I §6, Alpha- 
bets in Large Type, q. v. 

{See Epistle Dedicatory, Plates 6y-6S, unless otherwise designated. 
The title page referred to, unless otherwise designated, is that of the 
Sylva Sylvarum, Plate 66. ) 



(a) is large and ornamental. The left limb terminates in a flourish, as in 
"Alban," title page, New Atlantis, Plate 76. 

(b) is plain like the Roman letter, but is inclined to the right, as 
in "FRANCIS," title page, Plate 66. 

(a) is large and has a prolonged top ending in a downward curve or a dot, 
as in "By," title page, Plate 66. 

(b) was not used, but is plain like the capital A. 

(a) is in two styles, long and short. The top is a long, wide curve in each. 
The former isseen in "CENTURIES" and the latter in "FRANCIS," 
title page, Plate 66. 



(a) has a long, curved top ending in a drooping dot, as in "Doctor," title 
page, Plate 66. 



(a) is like a script letter with well-rounded curves, top and bottom, as in 
"CENTURIES," title page, Plate 66. 

(b) is plain, resembling the Roman letter, except in inclination, as in 
"Epistle Dedicatory," line 21. 



136 THE BI-LITERAL CIPHER 



F 
G 

H 



I 
K 



L 



M 



(a) is plain with a somewhat light bar at the top, as in "FRJNCIS," title 
page, Plate 66. 

(a) is a large letter having a queue extending below the line, as in "Great," 
line 5. 

(a) is a large letter with a somewhat heavy cross-bar, as in "/. H.," title 
page, Plate 66. 

(i) is a well-made letter having a light, delicate cross-bar, as in "Honour- 
able," title page, Plate 66. 

(a) is an ornamental letter curved at the top, as in "/. H.," title page, 
Plate 66. 

(A) is plain, as in "FRJNCIS," title page, Plate 66. 

(a) is a light, delicate letter without shading in the short, upper line at the 
right, as in "King," line 24. 

(b) is a well-made letter. The short line at the top of the right side shows 
distinct shading, as in "Kingdome," line 22. 

(a) is a large, well-made letter showing a gradual thickening of the base 
line, as in "Lee," title page, Plate 66. 

(i) is also well-made, not distinctly shaded in the base, as in "Lo.," title 
page, Plate 66. 

(a) is a large, ornamental letter. The left limb has an appendage at the 
top and ends in a flourish at the base, as in "Maiestie," line 18. 

(b) is plain, resembling the Roman letter except in inclination, as in 
"Maiestie" line 12. 



N 




P 

R 
S 



OF SIR FRANCIS BACON 137 

(a) is a large, ornamental letter. The last stroke bends sharply downward 
at the top, as in "Natures," line 22. 

{h) is quite similar to the letter just described, but the last stroke is heavily 
* shaded at the top and ends in a close dot, as in "CENTURIES," 
title page, Plate 66. 

(b) is rather heavily shaded on either side, as in "OR," title page, Plate 66. 

(fl) is delicate and well-made. The curved top ends in a dot, and the 
stem is of uniform thickness throughout, as in "Protection," line 37. 

(Zi) has a pyramidal stem and is somewhat heavily made, as in "Prince," 
line 14. 

(a) resembles the P of this font with the addition of a queue, as in "CEN- 
TURIES," title page, Plate 66. 

(a) is very angular and often of nearly uniform thickness, as in "S. Alban," 
line II. 

(b) has a top somewhat broad. The letter is usually shaded, as in "Sub- 
iect," line 43. 



r(a) has a top inclining slightly upward at the right, ending abruptly, as in 
"MAJESTIES," line 42. 
(b) is a broad, well-made letter. The top curves upward at the right, as 
in "Turks," title page, Plate 66. 



V 



(a) is a bowl-shaped letter with an appendage at the top of the left limb, 
as in "Verulam," title page, Plate 66. 

(b) is plain, resembling the Roman letter, except in inclination, as in 
"Viscount," line II. 



138 THE BI-LITERAL CIPHER 



IV 

r 



a 



b 



c 



d 



(a) is a beautifully-made letter, narrow at the base, as in " fVorld" line 38. 

(b) is somewhat wide at the base. The last line is extremely light, as in 

"Writings," line 35. 

(a) is somewhat heavy. The left limb ends in a flourish at the top; the 
right, in a thickening of the line, as in "Your" line 42. 

yill. Italic Small Letters in Large Type* 

(a) has a weak, thin line at the left giving the loop an oblong appearance. 
The last stroke is close, as in "Allan," line 11. 

(b) is well-made. The upright shows distinctly at the top and the last 
stroke is free, as in "Britaine," line 5. 

(a) is nearly uniform in thickness throughout. The oval is well-rounded 
at top and bottom, as in "Alban," line 11. 

(b) is distinctly shaded at the top. The loop is somewhat pointed at the 
base, as in "Honourable," title page, Plate 66. 

{a) reaches out well at the top, while the lower curve is narrow. It 

resembles the capital C of "FRANCIS," title page, Plate 66, as in 

"Viscount," line 11. 
(b) is somewhat narrow at the top where it curves downward from a 

small neck. The curve at the base is also narrow, as in "France," 

line 5. 

(a) is a rather slender, well-made letter. At the base the loop falls a little 
below the level of the upright, and the last stroke is clear and free, as 
in "Dedicatory," line 21. 

(b) is somewhat narrow. The loop and upright stand on a level; the 
inclination of the upright is greater than in the a-font letter; the last 
stroke close, as in "Deuoted," line 43. 

* See note to previous alphabet. 



e 



f 



b 



OF SIR FRANCIS BACON 139 

(a) is in two forms. In one, the loop extends well toward the right, but 
the curve at the base is short and narrow. The base, if prolonged, 
would intersect the line bisecting the loop. In the other, the loop ex- 
tends upward, and the lower curve is wide. The former is seen in 
"The,'" line 21 ; the latter, in the first e in "Maiesties," line 40. 

{b) is also in two forms. In one the loop extends toward the right, while 
the lower curve is wide. Similar lines in this letter run parallel. In 
the other, the loop extends upward, and the lower curve is narrow. 
The lines in this case are also parallel, as in "Htstorie," line 9. 



(a) is a large, clumsy letter, the cross-bar level or tending slightly down- 
ward, as in "of," title page, Plate 66. 



(a) has a small round top, a snub nose and lower loop usually slanting, as 
in "Writings," line 35. 

(i) has a distinct, straight nose, the lower loop angular and level, as in 
"Eighth," line 24. 



(a) is shaded at the top of the upright, which curves upward at the base. 
The loop leaves the upright far down toward the base, as in "Philo- 
sophte," line 30. 

(b) is delicate and has a long straight, unshaded stem extending slightly 
below the base of the loop, as in "Eighth," line 24. 

(a) is of nearly uniform thickness throughout the stem, and the letter is 
very much the same at the top as at the base, as in "Historic," line 8. 

(b) is shaded at the base, the short stroke at top curved and light, as the 
second / in "Maiestie," line 14. 



140 THE BI-LITERAL CIPHER 



h 



I 



m 







P 



(a) is somewhat heavy, the queue curved upward at the end, as in " fForke," 
Hnes 32 and 38. 

(b) is a heavy letter having a short, abrupt queue, while a deUcate letter 
with abbreviated queue is font a, from which we infer that a well-made 
letter with an upturned queue would be the ordinary ^-font k. The 
i-font k was not used in the Epistle Dedicatory. 

(fl) is well-made, having a straight stem of nearly uniform thickness, as 

in " Allan," line II. 
(i) is somewhat curved in the stem, the top inclining slightly backward, 

as in "Philosophic," line 30. 

(a) has nearly vertical loops shaded at the right side, as in "KingJotne," 
line 22. 

(b) has loops inclined well toward the right. The shading is on the right 
but extends also to the top, as in "most," line 42. 



(a) has a nearly vertical loop and resembles half an a-font rn, as in 
/2 "Hands," line 41. 

(b) has a slanting loop. It resembles half a ^-font m, as in "fVntings," 
line 35. 



(a) is an oval very slightly inclined, as the second in "Philosophie," 
line 30. 

{b) is usually an ellipse considerably inclined to the right, as in "Vis- 
count," line 1 1. 

(a) has a pyramidal stem, and the loop commences with a slanting line, 
as in "Stampe," line 36. 

(b) has a stem of nearly uniform thickness throughout, the loop having a 
horizontal line at the top, as in "Philosophie," line 30. 



r 



u 



y 



OF SIR FRANCIS BACON 141 

(a) droops at the terminals, and the base is somewhat pointed, as in 

"Lordships," line 35. 
{h) has an angular terminal at the left and a rounded one at the right. 

The base is blunt, as in "Writings," line 35. 

(a) is in two forms, long and short. Short s is large and much inclined to 
the right. It has an awkward, tumbledown appearance, as in "Writ- 
tngs," line 35. Long s has tapering ends and very slight curves, as in 
"Philosophie," line 30. 

(b) also is in two forms, long and short. Short s is nearly upright, has 
rounded top and base, and is distinctly shaded. It is a neat, compact 
little letter, easily recognized, as in "Natures," line 22. Long s curves 
at the top, as in "Viscount," line il. 

(a) is somewhat large. The cross-bar is usually quite long, making the 
letter wide at the top, and the last stroke free, as in "fVritings," 
line 35. 

(h) is rather narrow at the top, having a short bar. It is rounded at the 
base, and the last stroke curves toward the stem, as in "Stampe," 
line 36. 

(fl) has close lines at the beginning and end. The upright is shaded at 
the top giving it the appearance of bending toward the left, as in 
"Tour," line 42. 

(b) is well-made, the first and last strokes free, the upright unshaded, 
giving the letter a wide appearance at the top, as in "Natures " 
line 22. 

(a) is narrow at the top, the second line bending downward toward the 
first, as in "RoyaU," line 37. 

(b) is nearly vertical. The strokes are well separated, giving the letter a 
wide appearance at the top, as in "Dedicatory," line 21. 



142 THE BI-LITERAL CIPHER 

IX. Italic Digraphs in Large Type. 



a 
II 



sh 



V 



sf 



(ah) is the union of the simple form of c in font a with an elongated t having 
the characteristics of this letter in font b, as in "Protection," line 37. 

{ha) is the union of a well-made / slightly shaded at the top and having a 
free, clear line at the base, with the same letter of nearly uniform 
thickness throughout, the stem having a very short line at the base, as 
in "Naturall," line 9. 



(ha) is the union of a long s ending abruptly with a small h of font a, as in 
"Lordships," line 35. 



(aa) is the union of long s ending in a short horizontal foot and small / 
nearly uniform in thickness throughout, with the cross-bar extending 
about the same distance on either side of the stem, and the last stroke 
free, as in "Alaiesiie," line 17. 

(ab) is the union of long s ending in a short horizontal foot with small i 
usually slightly shaded at the base, and having a cross-bar that ex- 
tends a little further toward the left side than toward the right, as in 
"Maiestie," line 14. 

(ifl) is the union of long s that curves upward at the base, with small / of 
nearly uniform thickness throughout, as in "Maiestie," line 18. 

(hh) is the union of a long s curbing upward at the base with small / having 
a cross-bar extending well out toward the left, as in "Maiesties," 
line 40. 

* See note to seventh alphabet, Syha Syharum. 



A 



B 
C 



D 



OF SIR FRANCIS BACOX 143 

X. Italic Capitals In Medium Type. 

Note. — Not all the letters of the alphabets were used in the part de- 
ciphered. The greater number were employed either in full sets or in 
parts sufictent to indicate the ethers. The alphabets once arranged 
do not change throughout the work, or the part of the work set up in the 
style indicated. 

(a) is a plain letter resembling the Roman capital except in position, as in 

"ALBAN," title page, Plate 66. 
(V) has the left limb prolonged and curved upward at the base, as in 

"Authors," page 86, line 26. In "Ancient Authors," page 86, line 26, 

the mo fonts of this letter are seen side bv side. 

(a) is a plain letter, as in "ALBAN," title page, Plate 66. 

(b) is an ornam.ental letter, the line of the upper loop being prolonged in a 
curve over the top of the upright, as in "Beleefe," page 254, line 7. 

(a) is in two forms, long and short. The former has a drooping head and 
short top, while it makes a wide curve below the line of writing, as in 
"Cedar," page 138, last line. The latter has short curves in both top 
and base, the e.xtremities seeming to approach each other and almost 
meeting, as in "Come," page 212, line 11. 

(b) is also in tw o forms, long and short. Long C extends well out at the 
top, and has a wide curve below the line, as in " ConUmplatiue," page 
35, line 12. Short C is usually heavy, and has a wide open curve 
at the base, as in "Cement," page 26, line 37. 

(a) is plain, as in "Dimnaticn," page 212, line 21. 

(U) is an ornamental letter, the loop being prolonged in a curve over the 
top of the upright, as in "Dissimulation," page 212, line 18. 



144 THE BI-LITERAL CIPHER 



E 



F 



G 
H 

I 
K 



(rt) has a thin, straight, level top finished with a short, vertical line. The 
base line is long and terminates also in a short vertical line, as in 
the second "Ecclw," page 65, line 35.* 

(b) has a line at the top somewhat heavy terminating in a short line slant- 
ing outward. 1 he base line is equally heavy and slightly waved, as 
in "Excellent," line 7. 

(a) is like the top of the capital E in this font, as in "Figures," page 61, 
line 9. 

{b) is like the top of the capital E in this font, as in "Fleet," title page, 
Plate 66. 

is not \et classified. The forms of the capital are seen in "Gold," 
page 86, lines 12 and 21. 

(fl) is a plain letter somewhat narrow, as in "Heat," page 23, line 3. 
(/>) is a plain, but very broad letter, as in "Head," title page, Plate 66. 

{a) is a slender, delicate letter, as in "Ireland," line 6. 

(i) is heavy and large, coming slightU below the line of wTiting, as in 
"Inflexible," page 221, next to last line. 

is not yet classified. The two forms of the capital are seen on page 
123 in "Kinds," and "Kinde," lines 7 and 15. The former has slightly 
pyramidal stem, and the upper line at the right shows shading at the 
top. The latter has a thin, plain stem, and the letter is characterized 
by a general lightness. 

* Note. — As in Bacon's illustration, De Augmentis, 162 j, the capital 
E is an evident exception. 



L 



M 

N 




OF SIR FRANCIS BACON 145 

(fl) is a plain letter. The base line shows a wave line, the last stroke 

slanting, as in "ALBAN," title page, Plate 66. 
{h) is somewhat larger than the a-font letter, and has a light base line 

terminating in a short, vertical line, slightly shaded, as in "Limited;' 

page 220, line 2. 

(a) is plain with straight serifs at the top and base, as in "Miter;' title 
page, Plate 66. 

{h) differs from the «-font letter in the third stroke, which is shaded and 
curves over the top of the last upright, ss in "Metali;' page 87, line 30. 

{a) is plain and unadorned, as in "ALBAN;' title page, Plate 66. 
{b: is in two forms, long and short. The former is seen in "New;' page 
123, line 15; the latter in "Natura-;' page 24, line 24. 

(a) is somewhat pointed, and is more shaded on the right side than the 
left, as in "OyU;' page 95, line 22. 

(b) is well rounded, the base is often very slight, as in "Orbe;' page 95, 
line 27. 



P 



3 



(a) is a plain letter having a well rounded loop, as in "Part;' page 95, 
line 27. 

(b) is an ornamental letter, the line of the loop extending in a curve over 
the top of the upright, as in "Passing;' page 59, line 31. 

(a) is like capital of this font with a queue appended, as in "Greater 
Quantitie;' page 61, line 12. 

{b) is like an enlarged figure 2. It is seen in "lesse Quantitie;' page 61, 
line 12. 



146 THE BI-LITERAL CIPHER 



R 
S 



(a) is a plain letter, as in "Rare," page 221, line 36. 

(h) is an ornamental letter, the top being like that of capital B and P of 
the same font, as in "Rock," page 26, last line. 



(a) is composed of plain, simple double curves, as in "S'- ALBAN," 
title page, Plate 66. 

(J)) is gracefully curved and finely tapered at the terminals, as in "Sub- 
sultorily," page 87, line 32. 



ris seen in two styles on page 87, lines 23 and 26. The latter 
probably the a-font letter. 



is 



V 



IV 



r 




(a) is well pointed, the second line following the first a short distance. 
The right line is a thin, light line, like the first upright of capital M in 
this font, as in "Vegetables," page 95, line 15. 

(i) shows the width of the second stroke to the very point. This line is 
also slightly shaded at the top, as in "Vegetables," page 95, line 22. 

(a) is well-made, the second and fourth lines very delicate, as in "Worke," 
page 109, line 7. 

(b) has the fourth limb somewhat heavy and slightly shaded at the top, as 
in "World," page 241, next to last line. 

has been found in only one form as seen on page 35, line 7, and on 
page 212, eighth line from end. 

on page 49, next to last line, not being the plain form, should belong 
to font b. 



a 



b 



d 



OF SIR FRANCIS BACON 14? 

XI. Italic Small Letters tn Medium Type. 

Note. — Not all the letters of the alphabets were used in the part de- 
ciphered. The greater number were employed either in full sets or in 
parts sufficient to indicate the others. The alphabets, once arranged, 
do not change throughout the work, or the part of the work set up in the 
style indicated. 

(a) is rather tall, and not wide. The last stroke is free, as in "Head," 
title page, Plate 66. 

(i) is wide at the base; a thin line at the left in the oval gives it an angular 
appearance, as in "Maiestie," line 7. 

(a) is delicate; the upright is nearly uniform in thickness, the oval pointed, 

as in "Noble," page 212, line 4. 

(b) has a thick, shaded stem, and the oval is rounded at the base, as in 
"Subtill," page 212, line 27. 

(a) has short curves in both top and base, the extremities seeming to ap- 
proach each other, and almost meeting, as the second c in the second 
"Eccho," page 65, line 35. The first c in this word belongs to the 
other font. 

(b) is much like the short capital, having a somewhat wide curve at the 
base, as in "Excellent," line 7. 

(a) is well-made, the stem delicate, last line free, loop extending somewhat 
high and narrow, as in "Head," title page, Plate 66. 

(b) has a stem shaded at the top, and the last stroke is curved backward. 
The loop joins the stem quite near the base, as in "Winding," page 53, 
line II. 

(a) has a somewhat angular loop. The curve at the base extends well up 
above the line of writing, as the last e in "Excellent," line 7. 

(U) has the bisecting line of the oval and the prolonged line of the base 
parallel, as in "Miter," title page, Plate 66. 



148 THE BI-LITERAL CIPHER 



/ 

g 

b 



k 



I 



m 



has not been placed, but two forms are seen in the last line of page 90. 
The first of these is probably a-font because the stem is like the long s 
of font a. 

is not yet classified. The forms of the small letter are seen in "Vege- 
tables," page 109, line 4, and "Maligne," page 255, line 23. 

(a) is probably that of "without," page 24.2, line 12. 
{b) is seen in "Prophet," page 241, line 12. 

(rt) has the first line long and drooping, and the base is rounded, as in 

"Miter," title page, Plate 66. 
(h) has the lines at the top and base very similar. The letter is inclined 

very slightly and has usually a pear-shaped dot, as in "Maiestie," 

line 7. 

is not yet classified. Of the two forms, one has a slightly pyramidal 
stem, the upper line at the right also showing shading at the top. The 
other has a thin, plain stem, and the letter is characterized by a general 
lightness. Examples may be seen in "Bricke," page 26, second line 
from end, and in "Rock," page 26, last line. 

{a) bends slightly forward. It has the rounded base of the small /, as in 

"please," line 7. 
(/>) is somewhat taller than the A-font letter, is not shaded, and has a clear, 

free line at the base, as in "Ireland," line 6. 

(a) has a long, hair-like first stroke, the second loop tends to the right and 
is slightly shorter than the other, and the last stroke is free, as in 
"Pneumaticall," page 221, fifth line from end. 

(J)) is usually heavy, but well-made, the two loops differing scarcely at all, 
and the last stroke curving backward, as in "tnost Excellent," line 7. 



n 



P 



OF SIR FRANCIS BACON 149 

(rt) is like the second half of small w in this font, as in "Ireland," line 6. 
{b) is like the second half of small m in this font, as in "Excellent," line 7. 



^ (a) is somewhat pointed, and more shaded on the right side than on the 

^ left, as in "your fnost," line 7. 

(b) is well-rounded and rather large, as the first in "Concoction," page 
95, line 23. 

(a) is plain with rounded loop, as in "Sulphureous," page 95, line 10. 
(h) is somewhat smaller than the a-font letter, the loop being narrower at 
Its base and slanting to the upright, as in "please," line 7. 

is in two forms on page 221, lines 39 and 41, in the first "Liquefiable," 
and m "Equall" They have not been classified, but the former is 
probably a b-iont letter to agree with the b in the same word; the latter, 
a-font. 



'V* (a) has a drooping hair-line for the first stroke, and slightly curved stem, 

as in "Porous," page 221, last line. 

(b) IS well-made, commencing with a clear, free line, and having a straight 
stem, as in "Ireland " line 6. 

r» is in two forms, long and short. The long s of font a is graceful and 

*^ slender and has a wide curve at the top, as in "please," line 7. The 

two forms of short s are seen on page 95, line 9, in "Families" and 

"Things." Of these, it is probable that the more open letter belongs 

to font a. 

/(a) is well-made with a distinctly nail-headed bar, and the last stroke free, 
as in "Fleet," title page, Plate 66. 
(b) is slightly shorter than the a-font letter, stands more nearly erect, the 
last stroke curving slightly toward the stem, as in "it please," line 7. 



150 THE BI-LITERAL CIPHER 

(a) is sharp-pointed, as in "vp," page 140, line 19. 
// (h) is bowl-shaped, as in "vpon," bottom of page 138. 



^ 



w 



X 



y 



A 



(a) is narrow. The upright bends slightly to the left, and the last stroke 
is close, as in "your," line 7. 

(b) is broad and decidedly open at the top, as in "Inuenting," page 137, 
line 4. 

(fl) has the long strokes at the left, as in "Miracle-working," page 242, 

line 20. 
(b) is level-topped and low, as in "Flowing," page 241, line 12. 

(a) has long lines terminating the heavier bar, which is uniform in thick- 
ness, as in "Excellent," line 7. 

(b) is a wide letter. The heavier bar is shaded at the base and rounds 
lightly into the last stroke, as in "Experiment," page 252, fourth line 
from the end. 

(a) has a drooping line at the top. The second stroke bends very close 

to the first, leaving a narrow opening, as in "Pythagoras," page 241, 
line 4. 

(h) is somewhat better made, the opening at the top being wider, as in 

"May," line 7. 

Note. — The y in "your," line 7, has characteristics of both fonts, 

butbelongs to the ^-font. 

XII. Italic Capitals in Small Type. 
Note. — Nearly all the letters of the small type have been proved. It 
has been explained in the note to the previous alphabet why letters not 
used caiinot be classified with certainty. 

(a) is a plain letter, as in "Axiomes," Plate 71, line 29. 
(i) has the left limb prolonged and curved, as in "Aristotle," Plate 72, 
line 30. 



B 



C 
D 

E 



F 



G 
H 



OF SIR FRANCIS BACON 151 

{a) has a pyramidal stem, the upper loop much smaller than the lower, 
as in "Body," Plate 73, line 40. 

(b) has a stem of uniform thickness throughout, the upper loop nearly, 
or quite, as broad as the lower, as in ''Bodies," page 5, line 6. 

{a) is a small, heavy letter, as in "Condensing," Table, Century I., line 14. 

{h) is a larger letter, lighter and more open, as in "Ccesar," Plate 71, 
line 15. 

(a) has a pyramidal stem and narrow loop, as in "Duke," page 262, line 18. 

{b) has a stem of uniform thickness throughout. The loop is wide and 
unshaded, as in "Death," page 262, line 4. 

(a) has level, parallel lines for top and base, the latter noticeably longer 
than the top, as in "Earth," Plate 71, line 21. 

(b) has slanting top and slanting terminals. The base is a wave line, as 
in "Experiments " Plate 71, line 28. 

{a) has slightly pyramidal stem usually, and slanted top, as in "Fresh," 
Plate 71, line 16. 

(b) is a well-made letter distinct and balanced in all its parts, as in "Fresh," 
page 5, line 7. 

{a) is a small, heavy letter, as in "Glasse," page 5, line 2. 

(J)) is large, like the capital C of this font, as in "Glasse," Plate 74, line 18. 

(a) has a slanting base and cross-bar, as in "Hemisphere," page 6, line 42. 

(b) is a well-made letter with level cross-bar, as in "Hippocrates," Plate 
73, line 4. 



152 THE BI-LITERAL CIPHER 



K 



L 



M 

N 







(a) is somewhat heavy, as in "Infusion", page 5, line 23. 

{b) is not large and is rather delicate, as in "Infusion," page 5, line 18. 

(fl) is a narrow, heavy letter showing shading in the upper part of the 
stroke at the right, as in "Kinde," page 136, line 12. 

(b) is a light letter without shading in the upper line, and has a distinct 
foot, as in "Kernells," page 117, line 48. 

{a) has a level base and a vertical toe, but the serif slants slightly, as in 
"Liquors," Plate 72, line 40. 

(b) has the base line of capital E of this font, as in "Liquours," Plate 72, 
line 42. 

{a) is small and plain, as in "Motions," Plate 73, line 27. 

{b) is an ornamental letter, having the left limb prolonged in a wide curve, 
and the serif also prolonged and drooping, as m"Mechanicall" V\?itt 
73, line 28. 

(fl) is a small, plain letter, as in "Nebb," Plate 74, line 24. 

(b) is an ornamental letter. The left serif is prolonged and drooping, and 
the middle stroke is prolonged into a queue, as in "Non Constat," 
Plate 72, line 24. There is also a form in which the middle stroke 
curves down at the top and up at the bottom, as in "Natures," Table, 
Century IV., line 6. 

(a) is quite pointed, and heavily shaded at the left, as in "Opium," page 6, 
line 36. 

(i) is somewhat larger than the a-font letter, less pointed, and usually 
shaded on the two sides evenly, as in "Orenge," page 6, line 18. 



p 



R 



S 



T 



V 



OF SIR FRANCIS BACON 153 

(a) is a small letter with pyramidal stem and close head, as in "Pressure," 
Plate 74, line 4. 

(b) is slightly larger than the o-font letter. It has a broader and usually 
more open head or loop, as in "Pitts," Plate 71, line 25. 

cannot be classified with certainty until used. The two forms are 
seen on page 225, lines 3 and 4. One is like a capital with a queue 
appended; the other like an enlarged figure 2. 

(a) has a pyramidal stem and small, close top, like the capital B and P of 
this font, as in "Rock," Plate 72, line 28. 

(b) is somewhat larger than the fl-font letter and is wide at the top, as in 
"Rubies," Plate 72, line 28. 

(a) is somewhat heavy with marked terminals, as in "Sea," Plate 71, 
line 4. 

(b) is a delicate letter. The light top ends in a short vertical line, as in 
"Sea," Plate 71, line 15. 

(a) has a pyramidal stem and graceful top curling upward at the right, 
as in "Tide," Plate 71, line 17. If the top were depressed at the right, 
although the stem might be similar, the letter would belong to the 
other font. 

{b) is slight and delicate with unshaded stem, as in "T ensure," Plate 74, 
line 4. 

(a) shows the second limb heavy and drawn straight from bottom to top, 

as in "Water," page 6, line 44. 

{h) is delicate and sharp pointed, the second line running into the first a 
little way, as in "Virginall" Plate 74, line 13. 



154 THE BI-LITERAL CIPHER 



X 

r 



Z 




a 



b 



(a) is plain, the second half having the characteristics of F in this font, as 

in "Water," Plate 71, line 9. 
(/») has usually the fourth line much bent or curved outward, as in 

"Watry," page 95, line 33. 

has not been used. A narrow, delicate letter is seen in "Xenophon," 
page 191, line 26. 

is seen in two forms, but has not been classified. One form has a 
pyramidal stem and level top, as in "Teare" page 190, line 7,7,. The 
other has a stem of uniform thickness throughout, is narrow at the 
top, and the right arm is high, as in "Yeares," Table, Century VHI,, 
line 18. 

(a) The small, heavy form of the capital is probably in font a, as in "Zant" 

page 257, line 30. 
(i) A larger and lighter form on page 56, line 10, is probably in font h. 

is seen in two forms, one with a straight bar, as on page 31, line 45; 
the other with a bar turned back at the top, as on page 136, line 14. 

XIII. Italic Small Letters m Small Type. 

(a) is very narrow at the top, the last stroke close and indistinct, as in 
"Constat," Plate 72, line 24. 

(b) shows a square shoulder in the oval, and the last stroke is free, as the 
second a in "Separation," Plate 72, line 18. 

(a) is a somewhat heavy letter. The stem is shaded at the top and the 

base is rounded, as in "Rubies," Plate 72, line 28. 
{h) is delicate and the loop somewhat narrow, as the second b in "Rubarb," 

page 5, line 38. 



OF SIR FRANCIS BACON 155 

(fl) is heavy and the lower part is well rounded, as in "Percolation," 
/ Plate 72, line 40. 

(^) is tall and narrow, reaching well out at the top but narrow at the base, 
as in "Scammony," page 5, line 46. 



^ 



e 



f 



g 



h 



(a) has a stem shaded from the top. The oval joins the stem low at the 
base, as in "Alexandria" Plate 71, line 11. 

{V) is delicate. The oval joins the stem somewhat high, as in "Sea side," 
Plate 71, line 25. 

(fl) shows that the line bisecting the loop and the base prolonged would 
intersect, as in "Sea shore," Plate 71, line 4. 

(h) has the bisecting line of the loop and the prolonged base parallel, as 
in "Sea," Plate 71, line 13. 

(o) is somewhat heavy, and is well rounded at the top, as in "Clarifying," 
Plate 72, line 40. 

(b) reaches out well at the top, and has a short, horizontal foot, as in 
"Infusion," page 5, line ig. 

(a) is not large. The nose has a tendency downward, and is large and 
heavy, as in "Straining," Plate 72, line 26. 

(b) is somewhat delicate. The nose is thin but distinct and has an up- 
ward tendency, as in "Straining," Plate 72, line 18. 

(a) is somewhat heavy. The stem is shaded at the top, and the loop is 
large, as in "Mechanicall," Plate 73, line 28. 

(y) is a delicate letter, as in "Feathers," Plate 72, line 30. 



156 THE Bl-LITERAL CIPHER 

• (a) is a somewhat heavy letter. The dot is slightly to the left, as in "P/«j-," 

/ Plate 71, line 25. 

(b) is well-made, the first stroke shorter than the last, the dot slightly to 
the right, as in "Experiments," Plate 71, line 28. 



I 



m 



n 







(n) is somewhat heavy, but well-made, as in "Rock," Plate 72, line 28. 
(b) is delicate and shows no foot, as in "Chalkc," page 84, line 23. 

{a) is of uniform thickness throughout the stem, or slightly thickened 
toward the bottom where it is rounded into the last stroke, as in 
"Alexander," Plate 73, line 16. 

(i) is delicately shaded from the top, and is thin at the base, as in "Perco- 
lation," Plate 72, line 17. 

(rt) is a heavy, huddled-looking letter, the last stroke crossing under the 
line to which it is attached, as in "Es pertinent," Plate 72, line 8. 

(U) is a well-made letter with rounded loops and free lines at the beginning 
and end, as the second ni in "Scaninwny," page 5, line 45. 

(fl) is a high loop with right limb a trifle short and crossed underneath by 
the last stroke, as in "Infusion," page 5, line 43. 

(b) is well-made, and is like the second half of the m of this font, as in 
"Scammony," page 5, line 45. 

(a) is quite pointed, and heavily shaded at the left, as in "Sea shore," 
Plate 71, line 4. 

(b) is less pointed and slightly larger than small o of font a, and is usually 
shaded on the two sides evenly, as in "Violent," Plate 73, line 25. 



p 



s 



t 



OF SIR FRANCIS BACON 157 

(a) shows a drooping line at the top, as in "Hippocrates,'" Plate 73, line 4. 
{h) has a straight line at the top where the loop commences. The latter 
slants into the stem at the middle point, as in "Experiment,'" Plate 73, 
• line 7. 

(a) has a pointed, drooping loop very narrow at the top, as in "Liquor," 
Plate 72, line 42. 

{h) has a loop rounding out at the top and showing the tip of the stem 
very distinctly, as in "Liquors," Plate 72, line 40. 

(a) has drooping terminals and curved stem, as in "Alexandria," Plate 71, 
line II. 

{b) usually has a square stem, and sometimes a more delicate one. The 
right terminal stands out well, and the left does not droop, as in "Sea 
shore," Plate 71, line 4. 

(«) is in two forms, long and short. The former has a long curve at the 
top ending in a drooping dot. A short horizontal line terminates the 
letter at the base, as in "Ccvsar," page 71, line 15. Short s in the same 
font is a heavy letter, having a short top ending in a dot that 
droops close to the stem of the letter, as in "Experiments," Plate 71, 
line 28. 

(/>) is in two forms, long and short. Long s is short at the top and has a 
foot turned sharply upward, as the first s in "Transmission," Plate 72, 
line 17. Short s in font h reaches well out at the top, although it is 
sometimes heavily printed. It is seen at its best in "Sandes," Plate 71, 
line 15. 

{a) is somewhat heavy, but is well-made, the last stroke being free and 

clear, as the second i in "Pitts," Plate 71, line 25. 
{b) is also delicate and smaller than the a-font letter, as the first t in 

"Pitts," Plate 71, line 25. The two styles seen together are readily 

differentiated. 



158 THE BI-LITERAL CIPHER 

(a) is somewhat heavy. The first stroke is very close, and the middle 
A^ line straight, as in "liquid " Plate 73, line 46. 

{h) is somewhat narrow. The last long stroke bends slightly forward, as 
the first u in "Liquour," Plate 73, line 5. There is also a bowl-shaped 
small 1; not yet classified. 



w 



X 



y 



z 



{a) is small and flat, the first stroke having a blunt, abrupt beginning, as 
in "water," Plate 71, line 18. 

Q>) has a short line showing somewhat at the left, and the last line is 
curved outward, as in "water," page 6, line 24. 



(rt) has a very long foot upon the heavy bar curved backward; the dot at 
the top of the light stroke is very drooping, as in "Axiomes," Plate 71, 
line 29. 

{h) is somewhat broader than the a-font letter, the terminals of both bars 
turning outward at the right, as in "Experiment," Plate 71, line 24. 



(fl) has distinct shading at the top of the right limb, as in "Clarifying," 
Plate 73, line 7. 

(/») is lighter and without shading at the top of the right limb, as in " Bar- 
bar y," Plate 71, line 9. 



(a) is seen in "Topaze," page 257, line 41. 
{b) is seen in "Swiizers," page 262, line 19. 



A 



B 



C 



D 



OF SIR FRANCIS BACON 159 

10. NEW ATLANTIS, 1627. 

/. Italic Capitals in Large Type. 

This type was used, also, in the address "To the Reader" of the 
"Sylva Sylvarum." The references here are to "New Atlantis," unless 
otherwise marked. 

(a) is an ornamental letter having the left limb curved upward at the base 
and terminated by a large dot, as in "Art," page 35, line 3. 

(/>) is a plain letter like the Roman, except that it is inclined rather than 
vertical. The left stem is finished like the right with a serif, as in 
"And," Plate 80, line 6. 

(a) is an ornamental letter. The line of the upper loop extends over the 
top of the stem and curves downward at the end, as in "Bookes," 
Plate 80, line 7. 

(/)) is plain like the Roman, except in position, as in "Between," Plate 79, 
line 35. 

(a) is in two styles, long and short. The former has wide curves above 
and below. The latter reaches well out at the top, and has a somewhat 
narrower curve at the base. Both kinds are seen in the second and 
first "Causes," Sylva Sylvarum, To the Reader, reverse of Sig. A2, 
lines 7 and 4. 

(Jb) has a somewhat narrow curve at the top matching that at the base. 
There are both long and short letters. The former is seen in "Cen- 
tury," Sylva Sylvarum, page 27, line i; the latter, ibid., page 3, line i. 

(a) has the line of the loop extending over the top of the stem and curving 
downward at the left, as in "Diuine," Plate 79, line 35. 

{b) is a plain letter diflFering from the Roman in one particular only, as in 
"Depth," page 31, line 26. 



160 THE BI-LITERAL CIPHER 



E 
F 

G 
H 



I 
K 



L 



{a) is the Italic script letter of two curves, as in "Earth," Plate 79, 
line 31. 

(i) is a plain letter, as in "Effecting," page 31, line 20. 

{a) has a slight, thin top. The serif at the base is often irregular, as in 

"First," page 31, line 11. 
(J)) is a well-made letter, not verv broad at the top. The line gradually 

thickens toward the right, as in "Fathome," page 31, line 23. 

(a) terminates in a queue below the line, as in "Grace," Plate 79, line 32. 
(/>) is a plain letter without a queue, as in "Generations," Plate 79, line 35. 

(is) is somewhat heav)-, and has a heavy cross-bar, as in "Hill," page 32, 
line 28. 

{b) is well-made, and has a light cross-bar, as in "Heauen," Plate 79, 
line 31. 

(a) is an ornamental letter, as in "Interpretation," Plate 80, line 12. 
(i) is a plain letter, as in "/ doe," Plate 80, line 3. 

(13) is somewhat heavy. The upper line at the right shows distinct shad- 
ing, and the queue is thick and heavy, as in "Kingdome," page 38, 
line 31. 

(V) is a more delicate letter, very lightly shaded in the upper part, with 
stem and queue both slender, as in "Kinds," page 34, line 29. 

(a) is a heavy letter deeply shaded along the base line, as in "Lord," title 
page, Plate 76, line 5. 

(^) is broad and well-made. The base line is slender, as in "Lawes," 
Plate 80, line 9. 



M 

9 

JV 







p 



R 



OF SIR FRANCIS BACON 161 

(a) is a large ornamental letter, as in "Miracles," Plate 8o, line 7. 

(b) is a plain letter resembling the Roman capital, as in "Mercy," Plate 80, 
line 13. 

(a) is a graceful, ornamental letter with light uprights, as in "New," 
Plate 80, line i. 

(b) is similar to the a-hnt letter, but shows heavy shading in the uprights. 
A strongly marked type is seen in "Number," page 40, line 28. 

(a) is slightly pointed, and shows more shading on the left side than on the 
right, as in "Open," page 32, line 6. 

(b) is quite broad at the base and the two sides are shaded very much 
alike, as in "Order," page 35, line 11. 

(a) is like the B of this font'without the lower loop, as in "People," Plate 
80, line 4. 

(b) shows a downward tendency of the extension of the loop over the stem, 
and an angle in the turn near the end, as in "Published," page 45, 
line 18. 



was not used. In this size of the type, the two forms are usually like 
capital in the respective fonts with a queue appended. To one. it 
is joined by a slanting line; to the other, by a short vertical hne. 

(a) in the upper part is like B and P of this font, as in "Reader," To the 
Reader, Sylva Sylvarum, sig. A3, line i. 

(b) at the top is like P of this font, as in "Reader," To the Reader, Sylva 
Sylvarum, reverse sig. A2, line i. 



162 THE BI-LITERAL CIPHER 



S 



{a) is somewhat heavy and distinctly marked at the terminals, as in 
"Signe," Plate 80, line 11. 

(b) is a delicate letter showing light lines and almost no shading, as in 
"Secretts," Plate 79, line ^^. 



r((i) is flat at the top, but the line turns downward at the left, as in " Thing," 
Plate 80, line 4. 

(b) is much like the a-font letter, except that the line forming the top curves 
upward at the right, as in "Therefore," page 12, line 6. 



IV 



(a) is a bowl-shaped letter, as in "View," page 35, line 20. 
(Jb) is a sharp-pointed letter, as in "Viscount," Plate 76, line 5. 

(a) shows very heavy shading at the top of the last limb, as in " lVee,"^zgQ 
41, line 9. 

(/>) is a well-made letter with a light fourth limb, as in "Workes," Plate 79, 
line ZZ- 

The two forms are seen in "Tea," page 37, line 21, and in "Tour," 
page 46, line 3. 

(o) as seen on page 40, line 18, probably belongs to the a-font. 

//. Italic Small Letters in Large Type. 

/J (a) has the heavy stroke nearly vertical. It rounds into the last stroke at 
^^ the base, as in "Grace," Plate 79, line 32. 

(b) is well inclined to the right, the oval shows a bend or shoulder at the 
top, and the last stroke is clear and free, as in "Earth," Plate 79, 
line 31. 



r 




b 



c 



d 



f 



OF SIR FRANCIS BACON 163 

{a) is well-made, the stem not greatly inclined, the base pointed, as in 
"hyr Plate 80, line 14. 

{h) is very delicate, well inclined to the right, the base rounded, as in 
'"beseech" Plate 80, line II. 

{a) is like the short capital in miniature, as in "Grace," Plate 79, line 32. 
(i) has a narrow curve at both top and bottom, as in "vouchsafed" Plate 
79, line 32. 

(a) is well-made. The top of the loop is rounded; at the base it diminishes 
to a hair hne and joins the stem quite near the starting point, as in 
"and," Plate 79, line 31. 

(i) is considerably inclined to the right. The loop makes right angles 
with the stem at the point of starting, and returns to it at a point mid- 
way between the starting point and the base. The last stroke is very 
distinct, almost heavy, but clean and straight, as in "andvse," Plate 80, 
line 12. 

{a) is of two kinds and must be tested by the lines, — a long diagonal of 
the oval and a prolongation of the base. If these intersect, the letter 
belongs to the a-font, as in "vouchsafed" and "Grace," Plate 79, line 32. 

(h) is of two kinds in this font, and must be tested by the lines. If these 
run parallel, the letter belongs to font b, as in "fVorkes" and "promise," 
Plate 80, lines 2 and 14. 

(a) is well-made, rather long, reaching well out at the top, and usually 
showing a horizontal line at the base, as in "of," Plate 80, line 2. A 
similar letter with a bent head belongs to font b, as in "vouchsafed," 
Plate 79, line 32. 

{b) is usually short and abrupt, as in "of," Plate 79, line 31. The lower 
end of the stem is sometimes curved and finished by a dot, as in "of," 
Plate 80, line 12. (See also a-font.) 



164 THE BI-LITERAL CIPHER 



g 
b 



k 
I 



m 



(a) has a shaded head inclined toward the right. The nose is hooked or 

bent, as in "acknowledge," Plate 80, line 4. 
(i) is delicately-made, the head nearly upright, nose usually straight, as 

in "glue," Plate 80, line 12. 

(a) has the loop rounding where it leaves the stem. The inclination of 
the stem is that of h and J in the same font, as in "thy," Plate 79, 
line 33. 

{b) is slightly less inclined to the right than letters of the other font. The 
loop is narrower and more pointed at the top, often showing a deflec- 
tion toward the right soon after leaving the stem, as in "this," Plate 80, 
line 4. 

(a) is somewhat large, with a long stroke at the top usually curved, as in 

"thine," Plate 80, line 9. 
(i) is delicately made. The line at the commencement of the letter is 

short and straight, as in "JVhich," Plate 80, line 13. 

(a) is somewhat heavy. The loop, being shaded along the end, has 
an angular appearance, as in "know," Plate 79, line 33. 

{h) is well-made and graceful, the loop clear and shaded along the lower 
bend, as in "JVorkes," Plate 79, line 33. 

(a) has a stem of uniform thickness, or is slightly thickened at the base. 

It rounds into the last stroke, as in "acknowledge," Plate 80, line 4. 
(i) is delicate. The stem narrows towards the bottom which is sharp, 

the last stroke clear and free, as in "secretly," Plate 80, line 13. 

(«) commences with a short, drooping line, and has rounded loops showing 
shading on the tops, as in "most," Plate 80, line 10. 

(h) is delicately made, commencing with a short, slanting line, and having 
loops shaded at the right. The second loop bends slightly forward, 
as in "thetn," Plate 80, line 10. 



OF SIR FRANCIS BACON 165 

(a) is like half of small m in the same font, and has the same characteristics, 
/y as in "owne," Plate 80, line 9. 

{b) is somewhat broad but very delicate, with clear, free lines at the be- 
ginning and end, as in "Jtlantis," Plate 80, line I. 







p 



r 



s 



(a) is slightly pointed and shows more shading on the left side than on the 
right, as in "Creation," Plate 79, line 33. 

(b) is the Wont capital letter in miniature, as in "sorts," Plate 80, line 3. 



(fl) is well-made, but somewhat narrow in the loop, which at the base ap- 
pears slightly angular, as in "appertaineth," Plate 79, line 34. 

(i) has a broad loop, as in "Impostures," Plate 80, line 3. 



is seen in two forms in "quicker," page 34, line 3, and in "exquisitely," 
page 43, line 6. 

(a) has drooping terminals, as in "Earth," Plate 79, line 31. 

(b) has spreading terminals commencing with a short, slantiijg line, as in 
"Grace," Plate 79, line 32. 

(a) is in two styles, long and short. The former is a graceful letter reach- 
ing well out at the top, but terminating near the stem at the base, as in 
"discerne," Plate 79, line 34. Short s of this font is a narrow, compact 
letter, as in "Workes," Plate 80, line 2. 

(^) is also in two styles, long and short. The long s inclines very slightly 
and changes very abruptly to a thin line at the end, as in "sending," 
Plate 80, line 14. Short s is delicate and very slightly shaded, as in 
"Illusions;' Plate 80, line 3. 



166 THE BI-LITERAL CIPHER 

(a) is well-made, and is inclined to correspond with the stem of b, d, p, 
T etc.. of this font, as in "Earth," Plate 79, line 31. 

(i) is less inclined than the same letter in font a, and shows a bend in the 
stem before reaching the line of writing, as in "to know," Plate 79, 
line 33. 



V 



(a) is bowl-shaped, as in "vrito," Plate 80, line 14. Another style is the 
ordinary Italic u. In font a it commences with a drooping line, while 
the last stroke is clear and free. The upright is pointed at the top, 
and often inclined to the left, as in "Heauen," Plate 79, line 31. 

(b) is also pointed, as in "vouchsafed," Plate 79, line 32. Another form 
is like the modern u. It commences with a slanting line and ends with 
a short, curved line. The upright is blunt at the top and tends toward 
the right, as in "true," Plate 80, line 6. 

^/J^ («) is a light, delicate letter. The second stroke tends to the right at the 
base, as in "New," Plate 79, line i. 

(b) is narrow at the base and shows no bend in the second line, as in 
"owne," Plate 80, line 9. 



X 



y 



{a) has the terminal of the heavy bar turned backward at the base, and 
that at the top of the light bar curves in the same way, as in "exceedest," 
Plate 80, line 9. 

(b) is a wide letter. The terminal at the base of the heavy bar is light and 
free, as in "Excellent," Plate 80, line 8. 

(a) has the second line bent toward the first at the top, as in "thy," Plate 
79. line 13,. 

(h) has a clear, open head, as in "thy," Plate 79, line 32. 



as 



a 



ff 
fi 



OF SIR FRANCIS BACON 167 

///. Italic Digraphs In Large Type. 

(na) is the union of a sharp, heavily-shaded a well-inclined to the right with 
an s also shaded and rather small in the head, as the second "as," 
Plate 79, line 34. 

{ah) is the union of a sharp, heavily-shaded a with a light s open and clear 
in the head, as the first "as," Plate 79, line 34. 

(^ba) is the union of the simple form of a in font b with a somewhat narrow 
s, shaded and small in the head, as in "was," page 12, line 3. 



(bb) is the union of the simple form of a in font b with a light s, open and 
clear in the head, as the second "as," Plate 80, line 6. 



has not been used. The four combinations are seen in "instruct," 
P^ge 33» line 9; "practise," page 41, line 2; "tincted," page 33, line 29; 
and "perfectly," page 40, line 15. 



has not been classified. Four combinations are seen in "differ," 
page 36, line 4; "Difference," page t,t^, line 14; "Effecting," page 31, 
line 20; and "effects," page 39, line 12. 



{ab) is the union of/ having a long curve at the top and a hook at the lower 
end of the stem with a ^-font ;', as in "testifie," Plate 80, line 4. 

(ba) is the union of a well-made /, having a foot slightly turned upward, 
with an a-font /, as in "finde," page 32, line 2. 

{bb) is the union of the/ just described with a i-font /, as in "testifie," page 
12, line 6. 



168 THE Bl-LITERAL CIPHER 



/ 



Only two examples have been found. 

(ah) is the union of an/ reaching well out at the top, with the simple form 
of / in font b, as in "flouds," page I2, line 5. 

(bb) is the union of an / curved downward at the top and slightly upward 
at the foot with the simple form of / in font b, as in "flow," page 39, 
line 2. 



• {aa) is the union of the simple form of / in font a with the script s, small 

/ V and close in the head, as "is," Plate 80, line 5. 

{ab) is the union of the c-font i with the script s having a wide open head, 
as in "Atlantis," Plate 80, line i. 

(ba) is the union of the simple form of / in font h with a script s, having a 
narrow, close head, as in "this," Plate 80, line 11. 

(bb') is the union of the simple form of i in font b with a script s, having a 
wide, open head, as in "Atlantis," page 5, line i. 



// 



(aa) is the union of the two /'s of font a, as in "shall," page 12, line 7. 

{ab) is the union of the simple form of/ in font a with a light, delicate letter 
as in "Illusions," Plate 80, line 3. 

{ba^ is the union of the simple forms of/ in the respective fonts, as in" Hi Us," 
page 31, line 24. 

(bb) is the union of two letters of the simple form of / in font b, as in 
"severall," page 39, line 27. 



jh 



P 



SP 



ss 



OF SIR FRANCIS BACON 159 

{aa) is the union of a well-made long s reaching well out at the top and very 

slender where this curves to the stem, with the simple form of h in 

font a, as in "perished," page 35, line 25. 
{ah) is the union of a long s described above with an h much rounded at 

the loop, as in "publish," page 47, line 3. 
(ba) is the union of a long s somewhat short at the top, heavy in the stem, 

and growing suddenly thin at the foot, with the simple form of h in 

font a, as in "should," page 12, line 5. 

{bb) is the union of the simple forms of these letters in font b, as in "Nour- 
ish," page 37, line 24. 

{aa) is the union of long s reaching well out at the top, and often having a 
hook at the base with the simple form of /' in font a, as in "easily," 
page 46, line 17. 

{ah) is the union of the simple form of long s, in font a, with a straight- 
bodied I having lines at the top and bottom attached in the same 
manner and of equal length, as in "Illusions," Plate 80, line 3. 

{bb) is the union of a long s having the line at the foot of the stem sharply 
turned upward, with an / thin and straight in the body finished by 
equal, slanting lines at top and bottom, as in "Besides," page 45, 
line 13. 

{aa) is the union of a long s in font a with a long p having a horizontal line 
at the top of a somewhat narrow loop, as in "prosper," Plate 80, 
line II. 

{ah) is the union of a long s in font a with a long p having a broad loop, 
the upper line of which turns downward at the left, as in "specially" 
page 46, line 22. 

{ha) is the union of a long s somewhat heavy in the stem and having an 
upturned foot, with a long p level at the top of the narrow loop, as in 
"especially," page 37, line 9. 

The various combinations have not been classified. 



170 THE BI-LITERAL CIPHER 



St 



us 



A 

B 



(aa) is the union of the long s in font a with a long i having the characteristics 
of that letter in font a, as in "hast," Plate 79, line 31. Short st is the 
union of the simple forms of these letters in font a, joined at the top by 
a wave line, as in "deepest," page 31, line 23. 

{ah) is, in the one case the simple form of long s in font a with a long t 
having the characteristics of the i-font /, as in "stay," page 37, line 
15; in the other, the union of the simple forms of the small letters in 
their respective fonts, as in "Impostures," Plate 80, line 3. 

(ba) in the first mentioned style, is the union of long s in font b with a long 
t having the characteristics of this letter in font a, as in "amongst," 
page 38, line 28. In the other style, it is the union of these letters in 
their respective fonts, as in "most," Plate 80, line 10. 

(hb) in the first case, is the union of a long s having an upturned foot with 
a long t that shows the characteristics of this letter in font b, as in 
"allmost," page 38, line 21. The other case is the union of the simple 
forms of these letters in font b, joined by the wave line, as in "testifie," 
Plate 80, line 4. 

has not been classified. 

IV. Italic Capitals m Medium Type. 

(a) is a plain letter, in form like the Roman, having both limbs finished 
with straight serifs, as in "And," Plate 80, line 17. 

(h) has the left limb prolonged, and terminating in an upward curve, as 
in "About," Plate 79, line 8. 

(rt) is flat at the base. It is an ornamental letter, having the line of the 
upper loop prolonged, curving over the top of the stem, as in "But," 
Plate 80, line 19. 

(V) shows the base line slanting downward at the left, while the curved 
line over the top is angular, as in "Boate" Plate 80, line 18. 



c 



D 

E 



F 

G 
H 



OF SIR FRANCIS BACON 171 

(a) is in two styles, long and short. Long C shows wide curves above and 
below the line of writing, as in "Calme" Plate 79, line 11. Short C 
has wide curves also, but the lower one rests on the line, as in 
"Coast," Plate 79, line 10. 

(b) is also in two styles, long and short. Long C is short at the top, and 
the end is heavy, as in "Crosse," page 3, line 4. Short C has the same 
characteristic top, as in "Crosse," Plate 78, line 34. 

(a) is flat at the base like the capital B in this font, as in "Death," page 7, 

line 6. 
(J)) has slanting base like capital B in this font, as in "Deepe," Plate 77, 

line 21. 

(rt) is a well-made letter. The upper bar is finished with a short, distinct 
line, and the lower shows a similar line slightly curved backward, as in 
"Enemies," Page 15, line 28. 

(h) does not show well-finished terminals. The base is somewhat longer 
than the upper bar, as in "Easternc," Plate 79, line 10. 

(a) has a slanting bar at the top corresponding to that of the capital E in 

this font, as in "Firmament," Plate 80, line 20. 
{h) has a level bar at the top slightly longer than this line in a-font letters, 

as in "Friends," page 19, line 5. 

(a) is a slender letter, rather large, as in "Greeke," Plate 78, line 26. 
(h) is inclined to be heavy, especially in the lower part. The curve at the 
top is short, as in "Glimse," page 13, line 13. 

(a) is a well-made letter, having a particularly light and delicate cross-bar, 

as in "Hebrew," Plate 78, line 26. 
(J)) is a well-made letter, except that it shows a somewhat heavy cross-bar, 

as in "Heauenly," Plate 79, line 23. 



172 THE BI-LITERAL CIPHER 



K 



L 



M 



N 







(a) is light and delicate, as in "lapan," Plate 77, line 4. 

(b) is large and well-formed and somewhat heavy, as in "Intentions," 
page 18, line 2. 

(rt) is a delicate letter, the upper line at the right thin and clear, as in 

"Kingdome," Plate 79, line 26. 
{b) is a somewhat heavy letter. The upper line at the right side shows 

shading at the top, as in "Kingdome," page 18, line 5. 

(fl) is a well-made letter with rather thin stem and base-line, as in "Leaue," 
Plate 80, line 17. 

(b) has a base-line nearly as heavy as the stem. The right extremity of 
the base slants outward, as in "Languages," page 13, line 27. 

(a) has the third stroke curved. It is prolonged over the top of the final 
upright to correspond with the capital N of this font, as in "Miracle," 
page 12, line 12. 

(b) is plain, having a straight serif at the top of the right side, or, when 
this side is high and pointed, no serif at all, as in "Merchandize," 
page 3, line 11. 

(a) has the middle stroke prolonged over the first upright and under the 
second, as in "Nation," Plate 79, line 2. 

(t) has the middle stroke prolonged into a queue below the line, as in 
"Noble," page 18, line 2. 

(a) is somewhat pointed, and is more heavily shaded upon the left than 
upon the right side, as in "Offers," page 8, line 32. 

(b) is rounded at the base, and the shading is only very slightly heavier 
upon one side than upon the other, as in "Order," page 18, line 15. 



p 



R 



S 



OF SIR FRANCIS BACON 173 

(a) shows the loop at its base nearly perpendicular to the stem. The 
curve over the top is unbroken, as in "Ptllar," Plate 79, line 20. 

{b) shows a slight bend in the base of the loop, and also in the curve over 
the top, as in "Parchment," Plate 80, line 27. 

(a) has the oval of capital of this font, with a queue appended by a 
short vertical line, as in "Questions," page 9, line 28. 

(h) is like the capital O of this font joined to a queue by a slanting line, as 
in "Questions," page 9, line 27. 

(a) is well-made. The upper part has the characteristics of the loop and 
curved line of capital B and P of this font, as in "Request," page 8, 
line 24. 

(b) is a somewhat heavy letter. The queue ends bluntly or in a dot, as in 
"Reliefe," page 18, line 16. 

(a) is made of two similar curves, the extremities plainly marked, as in 
"Spectacle," Plate 79, line 16. 

(b) is broader in the base than at the top, and there is no heavy mark at 
the lower extremity, as in "Starves," Plate 80, line 21. 



r(a) has a slanting top and heavy serif at the base thickened at the left of 
the stem, as in "The," Plate 80, line 28. 

(b) has a level top and sometimes a heavy stem, as in "The," page 8, 



Ime II. 



F 



(a) is a delicate letter. The second line is thin and fine, as in "Vpon," 
Plate 79, line 15. 

(h) is slightly curved at the point, and the second line is heavy, as in 
"Vocation," page 8, line 8. 



174 THE BI-LITERAL CIPHER 



W 



r 



a 



b 



c 



d 



(o) is large and uncouth. The fourth Hne, like the second line in the F of 
this font, is fine and thin, as in "fFliat," page 5, line 25. 

{b} is a little smaller than the a-font letter, very narrow at the base, heavy 
in the first and third strokes, and having the fourth line somewhat 
tliickened, as in "fFise," Plate 79, line 24. 

(a) is a symmetrical letter, rather narrow at the top, and level, as in 

"You," page 26, line 26. 
{b) has a sharp turn in the right arm, making the letter appear dotted, as 

in "Teares,^' P^ge 27, line 10. 

V. Italic Small Letters in Medium Type. 

(a) is wide, and shows the right side long, coming down below the oval, 
as in "Prayer," Plate 80, line 15. 

(b) is a narrow, compact letter, usually angular at the top, and showing 
the last stroke curved toward the stem, as in "made," Plate 80, line 15. 

(fl) is often rather light in the stem and has a somewhat pointed base, as in 

"abroad," Plate 80, line 20. 
(b) is rounded at the base and shaded at the top of the stem, as in "be 

seen," Plate 80, line 22. 

(a) is the short a-font capital C in miniature, as in "contemplated," Plate 
79, line 27. 

(h) is the short ^-font capital C in miniature, as in "Parchment," Plate 80, 
line 27. 

(a) has a broad loop composed of a light line only slightly shaded toward 
the base, as in "unbound," Plate 80, line 16. 

(b) has a narrow loop somewhat heavy, as in "found," Plate 80, line 15. 



/ 



<?• 



h 



k 



OF SIR FRANCIS BACON 175 

(a) must be tested by lines, as in other alphabets. Intersecting lines indi- 
cate fl-font letters, as the first two ^'s in "neere" Plate 80, line 19. 

(/;) must be tested by lines. Parallel lines indicate i-font letters, as in 
'"moueahle" Plate 80, line 16. The two styles of the ^-font letter are 
here seen in the same word. The bisected oval and prolonged base in 
each show parallel lines. 

{a) is usually somewhat heavy, reaching well out, and curved at the top, 
but ending at the foot in a short, horizontal line, as in ''found" Plate 
80, line 15. 

{h) is of nearly uniform thickness throughout. The foot curves upward 
and usually shows a dot, as in "left," Plate 80, line 22. 

(a) is somewhat delicate, and has a small thin nose, as in "greene" Plate 
80, line 24. 

{b) has a very heavy upright head and heavy nose, as in "taking" Plate 80, 
line 17. 

{a) is a broad letter, showing a hair line at the beginning of the loop, as in 
"had," Plate 80, line 15. 

(h) has a stem shaded from the top, and a rounded loop, as in "approach," 
Plate 80, line 17. 

(a) stands nearly erect, and the slanting line at the top is almost directly 
above the finishing stroke at the base, as in "it," Plate 80, line 19. 

Q)) is well-made, the first line short, the stem rounding into the last stroke, 
which is free and distinct, as in "remained," Plate 80, line 16. 

(a) is rather large, the loop having an angular appearance because of the 
shading across the end, as in "taking," Plate 80, line 17. 

(b) is more inclined to the right than the a-font letter, and, like the capital 
K of this font, is somewhat heavy, as in "know," Plate 80, line 30. 



176 THE BI-LITERAL CIPHER 



/ 



n 







P 



(a) is clear and distinct, somewhat delicate, and has a free line at the 
base, as in "selfe," Plate 80, line 20. 

(b) is a graceful letter, the top lightly shaded, and the last line free and 
clear, as in "neuerthelesse," Plate 80, line t,^. 



^PJ/7 (fl) has rounded loops shaded upon the top and right side. The first and 
last strokes are free, as in "came," Plate 80, line ig. 

(^) has loops inclined to the right and shaded only on the right. The 
first stroke is little more than a dot and very close, as in "Palme," 
Plate 80, line 25. 



(a) has the characteristics of the small m in the same font, as in "re- 
mained," Plate 80, line 16. 

(h) has the characteristics of the small m in this font, — a close first line 
and loop shaded at the right, as in "seen," Plate 80, line 22. 

(a) is somewhat pointed and is more heavily shaded upon the left than 
upon the right side, as in "found," Plate 80, line 15. 

(h) is the capital in miniature, as in "other," Plate 80, line 32. 

(a) shows the same straight line at the base, as the second p in "approach," 
Plate 80, line 17. 

(J?) has a wide, thin loop, as the first p in "wrapped," Plate 80, line 28. 

(a) is well-made. The stem is without shading, and is finished by a serif 
showing well on both sides of the foot, as in "reqiiireth," page 6, 
line 13. 

(b) has a somewhat wide oval, a stem slightly shaded, and a serif upon one 
side only at the foot, as in "Request," page 8, line 24. 



s 



V 



w 



OF SIR FRANCIS BACON 177 

(a) has drooping terminals, as in "written," and "receitie," Plate 80, lines 

27 and 31. 
(h) whether light or heavy, has the left terminal a slanting line and the 

base blunt, as in "rowed," and "assurance," Plate 80, lines 18 and 17. 

(a) is in two styles, long and short. The former has a long, thin top only 
slightly curved, as in "seen," Plate 80, line 22. Short s is made of 
short curves and distinct terminals like the capital, as in "words," 
Plate 80, line 34. 

{b) is in two styles, long and short. The long s is clearly curved, turning 
downward at the top. 1 he inclination of the stem is greater than in 
the fl-font letter, and the short line at the foot turns upward, as in 
"small," Plate 80, line 22. Short .f is free and open at both top and 
bottom, as in "his," Plate 80, line 26. 

(a) is quite tall, the stem showing well above the bar. The inclination of 
the letter is considerable, the last stroke free, as in "water," Plate 80, 
line 23. 

(h) is not tall. It is usually slightly shaded toward the base, which is 
often rounded into the last stroke, as in "though," Plate 80, line 23. 

(a) is sharp-pointed, as in "vanished," Plate 80, line 21. There is also 
the form of the ordinary Italic u, which, in this font, is usually broad 
at the top, with long first and last strokes quite free and clear, as in 
"receiue" Plate 80, line 31. 

ih) is bowl-shaped, as in "unbound," Plate 80, line 16. In this font also 
is the ordinary Italic w, which is narrow at the top, as in "reuerence" 
Plate 80, line 26. 

(a) is the joining of two pointed vi,, making the form marked by the 
height of the left side, as in "wett," Plate 80, line 23. 

(b) is small and flat-topped, as in "whereas," Plate 80, line 16. 



178 THE BI-LITERAL CIPHER 

X 



y 



z 




as 



(a) is a broad, delicate letter, with elongated dots ending the lighter bar, 
as in "sixe," page 8, line 12. 



(b) is particularly narrow at the base. The terminals of the lighter bar 
are small close dots, as in "Taxe," page 27, line 24. 

(a) is well-made, and quite open at the top, as in "prayers," Plate 79, 
line 29. 

(b) has a bend in the right arm, as in "they," Plate 79, line 21. 

(a) is a broad letter, slender at the top, but somewhat heavily shaded in 
the queue, as in "Merchandize," page 8, line 23. 

(b) is somewhat narrower, the queue coming down more abruptly. The 
top in this is shaded nearly as much as the bottom, and the connecting 
line between the two is heavy, as in "Symbolize," page 19, line 20. 

Two forms are seen on page 15, lines 12 and 15. They have not been 
classified. 



FI. Italic Digraphs in Medium Type. 

{aa) is the union of small a showing an angle or shoulder in the top of the 
loop and heavily shaded base, with an s short at the top and longer at 
the base, as "as," Plate 79, line 11. 

(ab) is the union of the a just described with an s as long at the top as at 
the bottom, as in "whereas," Plate 80, line 16. 

(ba) is the union of a small rounded a with an s very short in the head, as 
in "was," Plate 80, line 34. 

(bb) is the union of a small rounded a with an s long in the head, as the 
second "as," page 12, line 11. 



a 



ff 



fi 



OF SIR FRANCIS BACON 179 

{aa) is the union of a small c reaching well out at the top and having a wide 
curve at the base, with a long t wide and heavy at the base, as in 
"Spectacle," Plate 79, line 16. 

{ah) is the union of a small c reaching well out at the top and widely curved 
at the base, with a long t narrow and pointed at the base, as in "Erec- 
tion," page 19, line 7. 

{ha) IS the union of a small c somewhat narrow and showing a small dot at 
the top, with a long / heavy and wide at the base, as in "expected," 
page 9, line 15. 

{bb) is the union of a narrow c with a long t also narrow at the base, as in 
"Practique," page 20, line 18. 

{aa) is the union of two small f's having curved tops and straight feet, as 

'" "'^/'" P^ge 15, line 31. 
{ab) is the union of a small / curved at the top and straight at the base, 

with the same letter short and straight at the top with a short foot 

tending slightly upward, as in "Traffique," page 17, line 2. 
{ba) is the union of an /having a straight head and slightly upturned foot, 

with the same letter having a curved top and slanting foot, as in 

"Offers," page 8, line 32. 

{bb) is the union of two single letters in font b, as in "Office," page 8, line 7. 

{aa) is the union of small /having a curved top and straight foot, with an 
1 of nearly uniform thickness throughout the stem, and somewhat 
rounded at the top and bottom, as in "finding," page 17, line 31. 

{ab) is the union of an /having a curved top and a straight foot, with an / 
delicately shaded and sharp-angled, as in "fine," Plate 80, line 27. 

{ba) is the union of an /having a long head and short upturned foot, with 
an I uniform in thickness and rounded top and bottom, as in "fifty," 
page 5, line 27. 

{bb) is the union of the /just described with a delicately-formed /' slightly 
shaded at the base, as in "finde," page 7, line 19. 



180 THE BI-LITERAL CIPHER 



/ 



ts 



II 



{ati) is the union of an / having a curved top and straight foot, with an / 
somewhat heavy and rounded at the base, as in "cnflamed," page 8, 
line 38. 

(ai) is the union of the /just described, and an / slightly shaded at the top 
and pointed at the base, as in "flourish," page 15, line 6. 

(ba) is the union of an / delicately-made and having an upturned foot, 
with an / somewhat heavy at the base and rounded into the last stroke, 
as in "flourish," page 26, line 24. 

(bb) is the union of an / delicately-made and having an upturned foot, 
with an / somewhat shaded at the top and sharply pointed at the base, 
as in "briefly," Plate 79, line 7. 

(aa) is the union of the simple form of/ in font o, with an s rather large and 
clumsy at the top, as in "his," Plate 80, line 15. 

(ab) is the union of the / just described with an s small and close in the head, 
as in "this," Plate 79, line 18. 

(ba) is the union of small / in font b with an s blunt and clumsy in the head, 
as in "this," page 7, line 25. 

(bb) is the union of the simple form of; in font b with a well-made short s, 
clear and free in the head, as in "his," Plate 79, line 28. 

(aa) is the union of two delicate letters having level serifs at the top and 
free lines at the bottom, as in "tell," page 26, line 26. 

(ab) is the union of a delicate / having a level serif at the top and free line 
at the bottom, with a less delicate letter, slightly turned back at the 
top and rounded at the base, as in "all," Plate 79, line 20. 

(ba) is the union of an / having a slanting serif at the top and a rounded base, 
with a delicate letter angular at the base and ending in a clear, free 
line, as in "shall," page 26, line 26. 

(bb) is the union of two /'s of the simple form in font b, as in "shall," Plate 
79, line 6. 



^h 



S^ 



si 



OF SIR FRANCIS BACON 181 

{aa) is the union of long j- in font a, with a heavy-stemmed h having a wide, 
rounded loop, as in "vanished," Plate 80, line 21. 

(ab) is the union of long s in font a, with a delicate-stemmed h, havintr a 

' to 

somewhat heavy loop, as in "banish," page 7, line 20. 

{ba) is the union of long s in font b, with a heavy-stemmed, broad-looped h, 
as in "shall," page 7, line 10. 

(ii) is the union of long s in font b with a delicately-formed h, as 
in "sheweth," Plate 77, line 19. 

(aa) is the union of long s in font a, with the simple form of / in the same 
font, as in "sick," page 5, line 26. 

(ab) is the union of long s, in font a, with the simple form of i in font b, as 
in "Courtesie," page 7, line 17. 

(ba) is the union of long s, in font i, with the simple form of/ in font a, as 
in "silence," Plate 80, line 18. 

{bb) is the union of long s, in font i, with the simple form of/ in the same 
font, as in "Confusion," page 7, line 14. 

{aa) is the union of long s curved at the top and having a straight foot, 
with a heavy / shaded toward the base, as in "Islands," page 17, line 34. 

{ab) is the union of long s just described, with an / slightly turned back at 
the top, and of uniform thickness in the stem, as in "Island," page 14, 
line 26. 

(ba) is the union of long s in font b with an / having a level serif at the top, 
and a stem shaded toward the base, as in "Island," page 15, line 28. 

(bb) IS the union of long s in font b, with an / having a slanting serif at the 
top, and a stem of nearly uniform thickness, as in "dislike," page 28, 
line 22. 



182 THE BI-LITERAL CIPHER 



SP 



St 



(aa) is the union of long s in font a, with a long-stemmed p having a some- 
what narrow loop, as in "speaketh," page 24, line 38. 

(al)) is the union of long s in font a, with a long-stemmed p quite wide in 
the loop, as in "respect," page 9, line 36. 

{ba) is the union of long s in font b with a long-stemmed p somewhat narrow 
in the loop, as in "spent," page 12, line 29. 

(bb) is the union of long s in font b, with a long-stemmed, wide-looped p, 
as in "prosper " page 26, line 24.. 



(aa) is in two styles, long and short. The first is the union of long s in 
font a with a long t somewhat wide at the base, as in "stood," Plate 79, 
line 22. The second is the union of short s in font a with the long- 
stemmed t somewhat wide at the base. An example has not been 
found in this work. 

(ab) is in two styles, long and short. The first is the union of the rt-font 
long s with a narrow-based / usually having a slanting cross-bar, as in 
"Resistance," page 15, line 24. The second is the union of short j in 
font a, with a somewhat narrow and often quite heavy long /, as in 
"Christians," page 4, line 2. 

{ba) is in two styles, long and short. The first is the union of long s in 
font b with a long-stemmed t somewhat wide at the base, as in "least," 
page 15, line 16. The second is the union of a short s in font b with a 
long-stemmed t wide at the base, as in "East," page 14, line 23. 

{bb) is in two st}'les, long and short. The first is the union of long s in 
font b with a somewhat narrow long-stemmed t, as in "still," Plate 80, 
line 17. The second is the union of short s in font b with a somewhat 
narrow, though heavy, /, as in "amongst," page 15, line 21. 



OF SIR FRANCIS BACON 183 

("'') is the union of a wide-based u with a blunt-topped short s, as in 
^*J "'■"'"/ofvj," page i8, line 12. 

(ai) is the union of a wide-based z< with a small-headed s, as in "Fabu- 
lous," page 15, line 13. 

(ifl) is the union of a narrow-based u with a blunt-headed, awkward, short 

s, as in "Marueilous," Plate 79, line 18. 
(bb) is the union of a narrow-based u with an s small and delicate in the 

head, as in "'famous," page 19, line 14. 



XIII. 
DECIPHERED MESSAGES 

I. Second Folio, 1632. 

/. Actors' Names and First of Ben Jonson's Poem. 

■ — (m)ale desce'da't o' the Henry that founds th' Tiidors — had the boor W's claim 
gainsay'd. Trust me mankind is surpris'd to say "In shor(t) f 

oe! I cry grace — . Is pre- 
ominate reaping found any less fully your suits ? Justice ?" 



//. Last of Ben fonson's Poem and First of I . M. S. Poem. 

— that no obtensios would lighten Fr's toil o're some play (they who obeying long his 
warie eye — P., J., and G., or X. M. — would not stay the exody, i. e.) will I not deny. 

ut, cease!" or othe' such hasty wayes of giving slight reproofe but fell on heedless eare." 



///. Last of /. M. S. Poem, and Hugh Holland Poem. 

— wh'ch opponent he suddenly found to be (thus prooving S., 

P.,G. liars) th' Qu. K. 
F. embodied a letter so nicely givi'g a stateme't at the time. Yet it erst did lie upo' th' 
union w'ch K. conniv'd. A ne're pledg'd word grown in ol 

d disciples work. 
184 



OF SIR FRANCIS BACON 185 

IV. Poems: ''Upon the Effigies," and "An Epitaph." 

W. R. tels why wee honor gay S. F. his royal tome thou hast, will shew in severall places 
is th' manuscript kept. I, (ay) there shall friends find affix'd to each play th' author's name, 
with a rightful signe of F's (s)o to bee discov'r'd and substituted, I trust, if .* 

F. I. M. Poem. 
— toole and we know MS. the fellow masked and us'd F's seale thereon seen Rex. 

VI . Prologue, Troilus and Cressida. 

I lost favour, ergo, oppone'ts presume, as my ciphers at least do put it, to get such as 
sudde'ly turn playwright, witty or stale, under, wisht, yea, promist Judases. 

I to aide one writer — one which never liv'd in F. St. A.'s service yet knows the deputie 
of two Kings doth F's fist most — . 

2. SVLVA SyLVARUM, 1627. 
/. Prefatory Pages. 

Go to G early. Who lern by wit, as you will note elsewher, yet will not have 

yeeres work shut w't'in old graves, nor seldom loose faith. Yet I preach a faith but ill, if 
ever, to right some singularly uncommon faults, various Wm. S. bookes shall, by robbers 
might, be disturb'd. Who carpeth so uprooteth them by zeale to him. 

B , my trust now, to them writeth — to utter it, hoping some heede this — of 

a box, thus to denote F's own wish. 

Wm. R. 

//. Body of the JVork. 

See whatsoever is not thus worth, as I do u'fold my nowise alter'd letter, if, taking some 
stu'id, blind, indifrent but vain jesters i'to my inner court, a wit's carnassial mind but lingers 

*L. Digges poem contains cipher story connecting Numbers IV and V. See page i6. 



186 THE BI-LITERAL CIPHER 

to make ravine — of everie ones best skil'd to rob, by a separating, culling processe that doth 
wrest 'ones' thought. 

You may extoll both, ut supra, or upsetting nature go without my rush finding the way 
oft with the brute sense called th' instinctive faculty. One not common, wit, may Wm. 
most wisely emploie lesse, should our fame ever mou't his loftie Olympic height. 

3. New Atlantis, 1627. 

Learned men did equal me. Know you, had my rigol, a king's crowne allured stil, honor 
delay'd hitherto been mine, one blis in any th' past woes tenderly recall'd my erly love, 'tis 
verily to greatnes unmatcht — dreamt sub luna — that I might come. 

M's old art, men say most true, in this probable future more subtilly percha'ce should 
implant her just character, both that by goodnesse th' boy wrote so artlesse a storie in two 
worthily approov'd plays w'ch buried and left it not to dawes wit, nor wiseacres writi'gs I 
myselfe can note as wiselie; and th't unto me, certes, vows of devout, simple life you may 
know did yet defy me, slyly mov'd a like cruel suspect. Clearer and greater proof, old cipher, 
most happily overcomming oppositio', th't task may awe you* murmuring spirit — true note 
of art: O wit, curiosity ! good meanes, withall, by wh'ch subtletie marreth hope or trust too. 

Th' box my William R — so fears, or hates in very truth, to treasure well as he wil out 
of doubt let [hinder] all discov'rers — though many other my erly printed works went at once 
into finall crypt — to his lofty monument, meetly us'd thus for concealing it, only by my ut- 
most skill can duely bee giv'n. 'Tis seen of late surely chang'd (also a blasted hope may 
beseem slow, overwrought plans), rul'd by prominent, but commonlie musty volumns, dry 
fustian, men must predigest to get any nutr'm't. 

Graves at one time superiour, as no tim'rous perso' tryeth for entra'ce, or no bold one 
could wrest his treasures thence (vide W. on tombs, etc.), old or young mind [watch or care 
for] ill; so must every man on guard be told much more, quod bene notandum. I, [ay,] 
save Burton, ne're a man can now be with Wm., almost none built upon. My book he, as I 
but then did know though I was naturally unwilling, us'd; for forced by change and my ad- 
versity, I printed — but W. thrice previously did bury MS. sett up. To mold so this duke to 
th' wish of Wm., though men do know him not, MS. is hid ere you find my will to you kind. 



*NoTE — The r and m were joined in one group by the cipherer's mistake in this way: bbabb. 



OF SIR FRANCIS BACON 187 

As my companion found out many foes rather then but few, so th' fox you hunt you name 
Legion, tho' some runneth alone. By trust in him these sons, in years nor mist by honours 
nor linkt w't shame, whom E. forc'd i. [e.], by preclusion, forc'd to give way, liking it ill, nor 
led any forlorne hope to try experiments by might — so to win, redeem or maintain lost glory — 
nor lawlessly us'd power. 



DEC 3 1913 



XIV. 

"TO THE READER" AND 

CATALOGUE, SECOND FOLIO. 1632 



To The Reader 

Tothe Reade rThis Figur ethat thouh erese estpu titwa sforg entle Shake spear ecutW 

herei ntheG raver hadas trife With Natur etoou tdoot hehf eOcou Idheb 

uthav edraw nehis VVitA sweLl iiiBra sseas hehat hhitH isFac etheP rintv vould 

thens urpas seAU thatw aseve rvvri tinBr asseB utsin cehec annot 

Reade rlook eNoto nhisP ictur ebuth isBoo keBI 

By two guards do I watch F's vastly importa't playes cunningly. 
^ ^ WM. RAWLEY. 

Catalogue, Second Folio, 1632 

IViik Roman letters marked for the b-font with capital letters and grouped in fives. See plates 87 and 88. 

dacAT aLogu EofaL IthEc oMedi eSHIs tOrle saNdt RageD leSco nTAiN 
Edint hIsbO okehe iempe stthe twoge ntlem eno/u eRoNa theme rrywi vesof 
winds ormea siiref ormea suret hecom edy of error stniich adoea houtn othin glove slaho iirslo 
stmid somme rsnig htsdr eamet hemer chant o/VeN \ctas yoidi keitt hetani ingof thesh rewal 
Iswel Ithat endsw elltw elf en ighto rwha tyovv villt hewin terst aleHl sTOrl eSthe lifea 
nddea thofk iOHn< helif e Sidea thofk Rthet helif eandd eatho fkhth eseco ndpar tofkh 
theth elife ofkin ^HENr Ythet hefir stpar tofkh Enyth ethep artof ^henr ythet hepar 
tofkH emYt liethe trage dieof Richa rd//z^ thefa nioush istor yofWt NryTr agEDI eSTrO 
yLusa n^Cre sSiDA thetr agedy o/COR lolan uStit UsanD rCNic uSRoM toand iuLie 
tTiMo no/AT Hens< hetra gedyo /lUli uSCaE SaR</z etrag edyof Macbe xJnthe trage 
dyofh amLet thetr agedy ofkin ^LEar themo oreof vENic EanTH onYan dC\to pATra 
thetr agedy o/cYm Bellne 

188 



014 106 865 9 ^ 




